BOOKS BY THE SAME AUTHOR
THE CHRISTIAN AND ROCK MUSIC is a timely symposium that defines biblical principles to make good musical choices. THE SABBATH UNDER CROSSFIRE refutes the common arguments used to negate the continuity and validity of the Sabbath. IMMORTALITY OR RESURRECTION? unmasks with compelling Biblical reasoning the oldest and the greatest deception of all time, that human beings possess immortal souls that live on forever. THE MARRIAGE COVENANT is designed to strengthen your Christian home through a recovery of those biblical principles established by God to ensure happy, lasting, marital relationships. THE ADVENT HOPE FOR HUMAN HOPELESSNESS offers a simple, scholarly, and comprehensive analysis of the biblical teachings regarding the certainty and imminence of Christ’s Return. FROM SABBATH TO SUNDAY presents the results of a painstaking research done at a Vatican University in Rome on how the change came about from Saturday to Sunday in early Christianity. THE SABBATH IN THE NEW TESTAMENT summarizes Bacchiocchi’s extensive research on the history and theology of the Lord’s Day and answers the most frequently asked questions on this subject. WINE IN THE BIBLE shows convincingly that the Bible condemns the use of alcoholic beverages, irrespective of the quantity used. CHRISTIAN DRESS AND ADORNMENT examines the Biblical teachings regarding dress, cosmetics, and jewelry. An important book designed to help Christians dress modestly, decently, and reverently. DIVINE REST FOR HUMAN RESTLESSNESS offers a rich and stirring theo logical interpretation of the relevance of Sabbathkeeping for our tension-filled and restless society. Translated in 15 languages. HAL LINDSEY’S PROPHETIC JIGSAW PUZZLE refutes with compelling logic the senselessness of the predictions made by writers like Hal Lindsey. It received the 1987 Associated Church Press Award. WOMEN IN THE CHURCH shows why Scripture supports the participation of women in various church ministries but precludes their ordination to the representative role of elder or pastor. THE TIME OF THE CRUCIFIXION AND THE RESURRECTION examines the time element of the Crucifixion/Resurrection as well as the meaning of Christ’s death. GOD’S FESTIVALS IN SCRIPTURE AND HISTORY. Vol. 1: The Spring Festivals; Vol. 2: The Fall Festivals examine the historical development and theological meaning of the ancient Feasts of Israel.

TABLE OF CONTENTS
1. An Overview of the Music Debate ............................................ Defining the Terms ............................................................................ Rock Music ................................................................................... Contemporary Christian Music ..................................................... Acknowledgments ........................................................................ Method and Style .......................................................................... An Overview of the Issues ............................................................... The Morality of Music .................................................................. Rock Music Is Not Immoral ......................................................... Rock Music and Evangelism ........................................................ Rock Music and Black Heritage ................................................... Rock Music and the Bible ............................................................. The Role of Luther ....................................................................... Church Music and Adventist Theology ........................................ Rock Music and the Endtime Deception ...................................... Endnotes ........................................................................................... 2. The Worldview of Rock Music ....................................................... The Evolution of the Concept of God ............................................... The “God Beyond Us” Orientation ............................................... The “God For Us” Orientation ...................................................... The “God Beside Us/Within Us” Orientation .............................. African Roots of Rock Music ........................................................... Revival Music and Afro-American Conversions ......................... The Influence of Humanism ......................................................... Conclusion ........................................................................................ Endnotes ........................................................................................... 3. Rock Music from a Historical Perspective ................................... The Beginnings of Rock Music ........................................................ Rock Music in the 1960s .................................................................. Rock Music in the 1970s .................................................................. Rock Music Since the 1980s ............................................................. Conclusion ........................................................................................ Endnotes ........................................................................................... 9 12 12 13 15 16 17 18 21 24 27 28 30 32 33 35 38 42 43 47 51 55 57 58 59 61 65 68 73 78 83 88 94
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Table of Contents 4. The Rock and Roll Religion ......................................................... The Rock and Roll Religion ............................................................ An Experience of the Supernatural ............................................ Feelings Rather than Reason ...................................................... Worshipping Rock Stars ............................................................ A Pantheistic Religion ............................................................... The Ritual of Sex, Drugs, and Dance ............................................ Sex as Union with the Infinite ................................................... Drugs to Experience the Infinite ............................................... The Rock Dance ......................................................................... Conclusion ..................................................................................... Endnotes ......................................................................................... 5. The Rock Rhythm and a Christian Response ............................ The Structure of Rock Music ........................................................ Rhythm in Rock Music .............................................................. The Effect of the Rock Beat on Muscles.................................... Rock Rhythm and Sexual Response .......................................... The Effects of Rock on the Mind .............................................. A Christian Response to Rock Music ........................................... An Unholy Alliance ................................................................... The Pulse of the Heart and the Rhythm of Music ..................... Making Hymns Meaningful ....................................................... A Ground-swelling of Contemporary Hymns............................. Conclusion ..................................................................................... Endnotes ........................................................................................ 6. An Adventist Theology of Church Music .................................. Church Music in the Context of the Sabbath ................................. The Sabbath Offers Reason for Worship ................................... Holiness in Time as Holiness in Church Music ......................... The Mixing of the Sacred with the Secular ............................... Church Music in the Context of the Heavenly Sanctuary ............. The Worship of the Heavenly Sanctuary ................................... No Secular Music Allowed in the Temple ................................. Lessons from the Temple’s Music .............................................. Church Music in the Context of the Second Advent ..................... Worship in Anticipation ............................................................. Advent Music ............................................................................. Advent Inspiration ..................................................................... Conclusion ..................................................................................... Endnotes ........................................................................................

Table of Contents 7. Biblical Principles of Music ........................................................ The Importance of Singing in the Bible ........................................ The Reason for Singing ............................................................. The Manner of Singing .............................................................. The Place and Time of Singing .................................................. The “New Song” of the Bible .................................................... The Ministry of Music in the Bible ............................................... The Ministry of Music in the Temple ........................................ The Ministry of Music in the Synagogue .................................. The Ministry of Music in the New Testament ........................... Dance in the Bible ......................................................................... No Dance in the Worship Service .............................................. The References to Dance ........................................................... “Praise Him with Dance” .......................................................... Dance in the New Testament ..................................................... David Dancing before the Lord ................................................ Women and Music in the Bible ................................................. Conclusion ..................................................................................... Endnotes ........................................................................................ 8. The Effects of Rock Music .......................................................... The Influence of Music ................................................................. Sound Waves and the Brain ....................................................... Music and Hormone Production ............................................... Music Rhythm and Body Rhythm ............................................. The Effects of Rock Music ............................................................ Addictive Power of Rock .......................................................... Body’s Rhythm under Stress ..................................................... The Pulse Rate ........................................................................... Increased Production of Adrenaline .......................................... Pulsating Light Effects .............................................................. A Deafening Noise .................................................................... Conclusion .................................................................................... Endnotes ........................................................................................ 9. How Pop Music Entered the Church ......................................... Early Rock Criticism ................................................................. Inconsistent Criticism ................................................................ Waning Resolve ......................................................................... Evangelical Tendency toward Music Accommodation ............. The Power of Culture ................................................................

................................................ Morality of Music in Ancient Cultures ..................... From “Christian” Rock Back to Secular Rock ...................................................................................................... Godly Living .................................... The Final Turning Point ...... How Rock Music Entered My life ........................................................................................... The Return to South Africa: A New Beginning ........................ Word-Centered ...................... Conclusion ........................................................................ Endnotes ...................................................................................................... The Matter of Style ....................... Germany: From Top to Bottom ......................................................... Conclusion ........................... Conclusion ............................................ Music and Human Feelings .................. Music Dictates Feeling ......................................................................................................................................................................................................................................................... From Rock Music to the Rock of Ages ................................................................... Making Good Musical Choices ............................................................................. Defenders of Music Neutrality ................................... The Danger of Ethnic Pride .................................................................................. The Message in the Medium ..........Table of Contents Two Worship Styles Today ................. Music Suitable for Heaven .............................................. 14......................... Endnotes .................................. The Second Turning Point of My Life ...................................................................................................................................... Music and Morality . Endnotes ............................................................................................ Music Styles Reflect Theological Views ......... Early Christian Music and the Concept of God .. How Rock Music Rocked My Life ................................................................................ 13................................................................... From Hard Rock to Christian Rock ................... Music Styles and the Concept of God .................................. Music Communicates Apart from Words .. Ministry unto the Lord ......................................................................................... Music and the Fall .......................................................... Principles of Sacred Music .................................................................................................................. Praise and Thankfulness ....................................................................................... An Historical Perspective .................................... Climbing the Rock Ladder ..................
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. Unity ................................................

away from the hearing of their parents.Chapter 1 AN OVERVIEW OF THE MUSIC DEBATE by Samuele Bacchiocchi
“To rock or not to rock. and keyboard instruments like synthesizers. Perhaps it is true. Frankly. For the first time I witnessed such bands playing before my preaching during my 1999 speaking engagements in North America and overseas. -9Main Menu
. Today. heavybeat. writing. Some may quip that I must have been living on the moon. rock music with pulsating lights. teachers. At an Adventist youth rally overseas. if a Christian teenager wants to listen to the same “worldly music”—and in many cases much worse—he can do so with the encouragement of his family. This may be partly due also to the fact that until 1999 in my itinerant ministry around the world. smoke effects. and even some of their friends. and all the trimmings typical a night club. A generation ago there was almost universal agreement that rock music. At that time. electrical bass. Nobody could tell what they were singing about because the excessive volume drowned out the words. drum set. in whatever version. it was a shocking experience for me. Truly. church. By rock band I mean half a dozen youths playing the standard instruments: amplified electrical guitars. I had not been confronted with actual rock bands playing in Adventist churches before I preach. I have been so absorbed with my research. Christian school. I must confess that it was only during 1999 that I became aware of the increasing popularity of “Christian” rock in Adventist churches. It is not uncommon to hear rock music blaring out of dormitory rooms in Adventist academies and colleges. I witnessed one night for the first time a band of hippie-looking-young people blasting high-decibel. I felt that I had landed in a night club and not at a place of worship. young people who wanted to listen to the “worldly music” had to look for a hiding place. and lecturing that I have failed to observe the new musical development in my own Adventist church. and friends.” this is the critical question rocking many Christian churches today. including an increasing number of Seventh-day Adventist churches. was inappropriate for personal and church use.

Before proceeding to explain the objectives. Some of the songs are trivial and shallow in both tunes and words. So. I decided that I could address the question of rock music from biblical. Surprisingly. The project took off. A Needed Clarification. so my soul longs for Thee. and by God’s grace it was completed in a record time of about six months. They all expressed the same concern about rock bands playing inappropriate music in their churches. Incidentally. When I shared these experiences with the 7. I took this as a sign that I should move ahead with this project. and overall content of this book. The aim of this symposium is not to dismiss all contemporary music as “rock. which are usually projected on a screen. schools. simply email me your request at: <sbacchiocchi@qtm. Some of the contemporary songs. Initially I was reluctant to do so because I am no authority on music. breathe genuine devotion such as “As the deer pants after the water. but a worldwide trend that is gaining momentum in Adventist churches.net> The reports coming in from many countries made me forcefully aware of the gravity of the situation. however. as long as they are not the only repertoire of the church service. it is important to clear the air of possible misconceptions.An Overview of the Music Debate
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A few weeks later I had some similar experiences in Adventist churches in North America. it would be unfair to label all contemporary songs as
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. while competent musicians would examine more directly the musical aspects of rock. It became evident to me that the adoption of rock types of music is no longer an isolated problem. I can bear a few trivial choruses that repeat the same word ad nauseam. procedures. and ethical perspectives.” using hymns and contemporary songs. Many readers of my newsletters encouraged me to address the issue in a book. historical. During the past ten years I have preached in many Adventist churches where small groups lead out in the “Praise Service. or youth rallies.” Both the tune and the words of this song fittingly express the spiritual longing of a sincere soul. a dozen professional musicians from different parts of the world offered to contribute chapters to this symposium. as in the rest of the Christian world.” I received hundreds of email messages from different parts of the world. but the same is true of some hymns.000-plus subscribers to my “Endtime Issues Newsletter. to receive the free biweekly newsletter.” I believe that I speak not only for myself but also for the contributors to this project when I say that there are many contemporary songs with music and words suitable for divine worship.

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“rock. These personal experiences and comments are designed to reassure readers that this book is not written by a “bunch of fanatics” determined to bash all contemporary music as “satanic rock. the Bible clearly differentiates between the music used for social entertainment and the music worthy of the worship of God. and all who love the Lord will enter in.” which we used a few years ago for a special video-recording entitled “Sabbath in Songs.” which is the longest and. Gianluca. informs me that the song “Welcome Home Children. Those who deny this fact need to do some homework. words. the criterion is not whether a song is old or contemporary but whether its music. This study has two major objectives. For example. the song mentioned earlier. and early church.” is a contemporary song. Contrary to prevailing misconceptions.” has both a tune and words that speak to my heart when sung reverentially. Why is it that rock music has been the greatest propagator
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. There is no question that God’s people in Bible times clearly distinguished between sacred music used for divine worship and secular music employed for social entertainment. most likely.” Incidentally.” Our goal is to be constructive and not destructive. We want to help sincere Christians of all persuasions to better understand the biblical principles that should guide us in the choice of music suitable for personal and church use. Some contemporary songs conform to the biblical principle of worship music. “Biblical Principles of Music. Listen to the words: A great day is coming heaven’s gates will open wide. Objectives of This Book. my youngest son. the music and instruments associated with social entertainment (which was mostly of a religious nature) were not allowed in the worship service of the Temple. Some readers of Chapter 7 will be surprised to discover that in Bible times. the most important chapter of this book. Joined with our loved ones who in Jesus Christ have died our eternal life together we’ll begin. The first is to help people understand what makes rock music so different from any other form of music. For me. It is hard not to be moved by the music and message of this contemporary song. “Welcome Home Children. This goes to show that I have used contemporary songs in my ministry without even realizing it. This vital distinction is brought out in Chapter 7. synagogue. and manner of singing conform to the biblical principle of worship music.

‘Turn on. latin-rock.’ which
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. . as explained below. social. and aesthetic values during the past fifty years? What is it that makes rock music so attractive and irresistible to so many people worldwide. polit-rock and others. Scientists speak about ‘signal listening. not just another ‘rock’ style. . to be drowned in. such as jazz-rock. including the music. including ‘Christian’ rock. are volume. . but to be felt.” Since these two phrases are frequently used throughout this study. . classic-rock.’ and they have become the literal grandfathers of the newest techno and rap freaks. Other chapters contribute in different ways to define biblical principles for making good musical choices. called ‘Rock ‘n’ Roll. The second part gives an overview of the major issues we are addressing in this book. It is a music designed not to be heard. Sanctuary. These principles are formulated in Chapters 6 and 7. Part 1 DEFINING THE TERMS Rock Music.An Overview of the Music Debate
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of moral.’ married all kinds of famous women who have given birth to milk-and-coffee babies. The basic musical elements of rock. and Second Advent should impact the worship service. dive in and drop out. This section includes also the acknowledgments and an explanation about procedure and style. The latter examines the overall teachings of Scripture regarding music. repetition and beat. . The old ‘Stones’ are still ‘Rolling. The introduction is divided in two parts. . “during its half-century of existence. The lyrics are secondary to the music. The old man. acid rock and ecstasy-punched rave parties. in spite of its revolutionary anti-Christian and countercultural values? Is there something unique in the structure of rock music itself that makes it substantially different and more addictive than any other forms of music? What are the problems in transforming rock music into a medium for Christian worship and evangelism? These important questions are examined in several chapters. Techno freaks claim that ‘their’ music is a world of its own. “No drug has been left untouched leading to psychedelic. The second objective of this study is to ascertain the major biblical principles of music. The first defines the phrases “rock music” and “Contemporary Christian Music (CCM). This section helps the readers to understand what are some of the important issues of the music controversy. The former considers how the unique Seventh-day Adventist beliefs of the Sabbath. Defining “rock music” is a most difficult task because. we want the reader to know what we mean by them. it has generated a whole tribe of children and grandchildren.’ this is the motto and the effect searched for. as Güenter Preuss explains in Chapter 11 of this book.

often referred to as “pop music. It includes all the music.” In fact. After 35 years of teaching. Prof.’” Preuss’s definition of “rock music” applies specifically to secular rock. Young people have become so conditioned by the entertainment world. The music and the sermon must be entertaining. otherwise members go to worship somewhere else. In other words. Some even stepped out of the pews and started dancing on the aisles.” “physically stimulating. It was evident that the way the band was playing the hymn with the typical rock beat had caused the people to forget the words of the hymn. whether secular or religious. Sometimes it finds its way even in the singing of traditional hymns. To illustrate my broader definition of “rock music. where the rhythm.” let me share an experience. including the school and the church. Contemporary Christian Music. We shall return to this point shortly. because such music stimulates them physically. Something surprising happened when they led out in the singing of “Amazing Grace. I can testify that teaching college freshmen is far more challenging today than it was 25 years ago. in Chapters 9 and 10. performers.” It was not long before the whole congregation was in a swinging mood. We live today in an entertainment oriented society where people seek for physical gratification everywhere.” This example serves to illustrate the point that rock music is all pervasive.” about onethird of the class falls asleep right in front of me. In this symposium. I was invited to speak at a church where a rock band of four young men led out in the singing. The same is true in the church. especially rock music. and performance practices imitate rock music and musicians by stimulating people physically rather than elevating them spiritually. the phrase “rock music” is used in this book with the broad meaning of popular music used today for entertainment. Calvin Johanssen uses the phrase “pop music” as an all-inclusive term for the various versions of secular and religious rock music. We noted earlier that not all CCM is rock
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. Its impact is musical rather than lyrical. the phrase “rock music” is often used with a broader meaning. text. Each one of the hundreds of different 1 youth culture groups have their own ‘signal vocabulary. which are not an invitation to dance but to reflect on the amazing grace of God “that saved a wretch like me. however. To define “Contemporary Christian Music” (CCM) is just as problematic as defining “rock music” because it comes in a variety of species.An Overview of the Music Debate
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means that the mention of a word or a short phrase suffices to evoke the topic and to stir up the listener’s emotions. that if I do not make my lecture “fun. Many people love to sing even traditional hymns with a rock beat. There is no satisfaction in teaching a sleeping class.

gospel. ska. country. punk. and finally the incredible ‘blinding colors’ of Christian hard core.’ because. etc. When I asked for the record. 1996. The deception is self-evident. country rock. the official Seventh-day Adventist magazine for teenagers.’”4 Major Christian bookstores usually carry a large selection of CCM classified under the major headings of secular rock such as metal. country. They 5 can still get the same physical stimulation. ‘The Messiah. gospel rock. as she said. hiphop. chanson.’ This store was well-known for its large stock of religious records. to the ‘brighter tones’ of folk rock. ballad. industrial.” “Christian” rock is becoming more and more the only music to be found in Christian bookstores. rap. It is estimated that between 80 2 to 90 percent of CCM comes in a wide variety of rock styles. This is what today is called ‘Contemporary Christian Music’ or ‘Christian Rock. but with difference words.” and lists thirty-two “Christian” artists who sound like their corresponsing secular counterpart. technodrive. youth choir music. the lady behind the counter answered me politely but somewhat condescendingly that they didn’t carry ‘that kind of music. “Contemporary Christian Music: Is It Better than Secular Music?” Record is an Adventist Academy Bible teacher who sings with a band called “ImaginaMain Menu
. To help young people make the selections. jazz. These records are supposed to offer a “Christian” version of their secular counterpart. like rock. (but which I was unable to use because of duplication with the content of other chapters) he wrote: “Some years ago I visited one of the largest Christian bookstores in California hoping to find a special recording of Handel’s oratorio. issue of Insight. The same issue of Insight carries an interview with Roger Record. The article is entitled “Make the Switch. Between these extremes is the ‘glitter’ of rap. As I examined the enormous supply of recordings I found only rhythmically based music (beat music). blues. In Chapter 11 Preuss explains: “The multicolored spectrum of this industry reaches out from the ‘pastel’ of folk. Christian magazines provide charts listing in one column the secular rock bands and in another column the corresponding ‘Christian’ bands that play the same music. all ‘sanctified’ through ‘Christian’ lyrics and an ever3 increasing audience of believers and unbelievers. heavy metal and techno. A humorous experience by my former music professor Bjorn Keyn illustrates this point. retro. Christians addicted to the secular rock band can satisfy their craving for rock just by listening to a “Christian” version. latin. although the two are often confounded.An Overview of the Music Debate
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music. ‘We carry only Christian music here’ (sic!). since the music is the same. gospel. reggae. It came as a total surprise to find a similar chart on the January 13. In an essay Keyn prepared for this symposium. and related forms.

First. some information about each contributor is given in this chapter in conjunction with their contribution
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. But I believe that many people who use it—pop. Each one of them has gone beyond the call of duty by preparing an enlightening study on vital aspects of the rock-music debate. Jesus warned against using vain repetitions in worship (Matt 6:7). whether secular or religious. It is most difficult for me to acknowledge my indebtedness to the many persons who have contributed to the realization of this symposium. which is shared by many youth leaders and pastors today. This type of music is adopted by more and more Adventist young people who 8 9 are organizing bands and in some cases achieving professional status. Changing the words does not alter the effects of rock on the mind. simply because in our view to speak of “Christian rock” is an oxymoron.” In response to the question. Two major problems with CWM is that it generally incorporates rock rhythms with a heavy bass line and it is very repetitious. Acknowledgments.An Overview of the Music Debate
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tion. is the failure to recognize that rock makes its impact musically. I don’t believe that the form of music is wrong. that is. which are more biblically based. because he said: “I would say any form of Christian music can be 7 enjoyed. muscles. “What is wrong with rock music and MTV?” Record said: “First. a contradiction of terms. This fact has been established by numerous scientific studies reported in both Chapters 5 and 9. rap. rock. “Related to CCM and dependent upon it. Many of the same artists involved in CCM are also active in CWM. not lyrically.” Summing up. Each contributor is introduced twice. For this reason. An example is the song ‘How Majestic Is Your Name’ by Michael W.” The fundamental problem with Record’s view. I am indebted to the six scholars (musicians) who have contributed chapters to this book.”6 The solution that Record proposes to young people in his seminars is to switch from secular rock to CCM. often recording in the same secular corporations. inclusive of all versions of rock. It mostly represents a type of soft rock. Sometimes the phrase “pop music” is used with the same inclusive meaning. usually it is placed between quotations marks. When the term “Christian” is used to qualify rock. First of all. Smith. the distinction between secular rock music and much of CCM is in most cases relative. the phrase “rock music” is used in this book in its broader meaning. And the words do not neutralize the harmful effects of rock music. only the words are different. or whatever—have been indirectly or directly influenced by the devil. The significant difference is in the lyrics. because the music is the same. is Contemporary Worship Music (CWM). and hormone productions.

There is no question that I have personally benefited from their writings. Musician Brian Neumann is South African. and I. Wood for designing a most attractive cover. much of the material presented duplicated the content of other chapters. Second. Prof. A special acknowledgment must be given to five scholars who prepared essays that I was unable to include in this symposium. M. It is significant that the seven contributors (including this writer) represent six different nationalities. A special word of thanks goes to Joyce Jones and Deborah Everhart from Andrews University for correcting and improving the style of the manuscript. every effort must be made to understand their meaning in their historical context. above the comprehension of the average reader. patience. each contributor accepts the Bible as normative for defining Christian beliefs and practices. Method and Style. Stefani is Australian. Dr. it would have been most difficult for me to complete this project in such a relatively short period of time. This symposium is written from a biblical perspective. Osterman is Afro-American. Yet. and encouragement.An Overview of the Music Debate
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to the discussion of rock music. This conviction is reflected in the methodology
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. Because the words of the Bible contain a divine message written by human authors who lived in specific historical situations. Calvin M. the basic biographical information is given at the beginning of the chapter each one has authored. Our different cultural and national backgrounds bring to this symposium a broader perspective. Lecturer Tore Sognefest is Norwegian. without her love. I express my special thanks to my wife who has been my constant source of encouragement and inspiration during the past thirty-eight years of our married life. am an Italian. Jarrod Williamson from La Sierra University deserves special mention for taking time to correct and react to the manuscript. Currently Wood is a student in the School of Journalism at Indiana University. In other instances. The same has been true while writing the previous fourteen books. We saw little of one another while I was researching and writing this book. In some instances the essays were very profound and technical. Johansson is an American. My sincere gratitude goes to Donald J. To my knowledge. I wish to express my sincere apologies to these people for being unable to include their essays in this symposium. In his busy schedule he took time to design this cover and to modify it several times on the basis of valuable comments received. Dr. Musician Güenter Preuss is German. Last but not least. Wolfgang H. His comments have been most helpful. the writer. Eurydice V.

You will soon discover that some chapters are easier to read than others. and dancing. As one would expect with seven contributors. all Bible texts are quoted from the Revised Standard Version. It would be presumptuous to hope that this book will change everyone’s minds. yet open. For the past six months I have spent an average of 12-15 hours a day on this project. musical instruments. Part 2 AN OVERVIEW OF THE ISSUES Out of consideration toward those who appreciate an overview of the major controversial issues examined in this symposium. have the obligation to share them. youth leaders. This gives some consistency to the layout of the book. or early church. and young people have a limited understanding of the threat rock music poses the Christian faith. It is obvious that busy pastors or lay people can hardly find time to undertake a research of this nature. lay members. But after I read in your newsletter that the tambourine and other instruments associated with entertainment music were not allowed in the Temple. They are sincere but sincerely wrong in what they believe. I took the liberty as editor to divide each chapter into major parts and to subdivide the text under appropriate headings. Several examples are given below in the second part of this chapter. They assume that music is all a matter of taste and culture and the Bible gives us no directives in the area of music. copyright 1946 and 1952. A pastor told me: “I used to be known as ‘Tambourine Pastor’ because I used it all the time to accompany the church music. Digging up all the information has been very time consuming.An Overview of the Music Debate
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followed in the analysis of the biblical texts related to singing. as my wife can testify.” These are the kind of people we hope to help with this book. synagogue. the style of the book is not uniform. I decided that I would never again bring the tambourine to church. I shared the same view until I became involved in this research. This is what Christianity is all about. Unless otherwise specified. But many people are confused. Bible teachers. especially those that are already made up. Authors’ Hope. To facilitate the reading. I briefly list the eight
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. and of the biblical teachings regarding music. It is with this spirit that each contributor presents his/her findings in this book. Many pastors. Those of us who have the time and the skill to investigate new truths.

The major response to the alleged moral neutrality of music is found in Chapter 13.”14 Later in the same book Hannum affirms: “Moral and religious values should be kept separate from purely aesthetic ones.”15 The Response.” authored by Wolfgang H. expresses the same view. In an article “Contemporary Music Is Christian Music.” Similar statements could be multiplied as they abound in evangelical 11 literature. saying that “moral matters have to do with human actions and relations to others. Those church leaders who denounce “Christian” rock are either ignorant about it or prejudiced against it. M. together with a summary of the response provided by each contributor in their respective chapters.” which appeared in Ministry (September 1996). Hopefully. because the message is not in the music but in the words. who has earned graduate degrees in music. Hannum. pastor. an Australian musician.
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. not with the notes of a composition. that all music was created equal. Harold B. scholar. This view is emphatically stated in what is known as the Christian Rocker’s Creed published in the popular CCM Magazine: “We hold these truths to be selfevident. Michael Tomlinson states: “I believe music itself is without moral qualities. (1) The Morality of Music Defenders of the use of “Christian” rock music for worship and evangelism maintain that music is void of moral qualities for either good or bad. Music is morally neutral.” He taught music for nine years at the undergraduate and graduate level. Stefani. Is this true? We shall soon find out. a well-known and respected Adventist musician. in Religious Education at Andrews University in 1993. Consequently. nothing is wrong in adopting rock music by changing its lyrics. and a Ph. either for good or evil. D. “Music and Morality. A couple of samples from Adventist literature suffice to show that this view is becoming popular in Adventist circles. including at the Andrews University SDA Theological Seminary. that no instrument or style of music is in itself evil—that the diversity of musical expression which flows from 10 man is but one evidence of the boundless creativity of our Heavenly Father.An Overview of the Music Debate
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major issues. this overview will wet the appetite for reading the rest of the book. His dissertation was on “The Concept of God and Sacred Music Style. The question has more to do 12 what the with music is employed to say or to do than with the music per se” He goes so far as to say: “Do some church leaders denounce Christian ‘rock’ because they do not understand it or perhaps because they are blinded by the generational 13 prejudice or personal preference?” Tomlinson’s view is clear.

The second argument is theological. music and morality have been intimately connected.” Stefani notes that this popular view ignores the radical distortion that sin has wrought in every field of human endeavor. thrash metal. soul. have inevitably become acceptable forms of musical expression. were not touched by the Fall was developed during the Middle Ages when the Catholic Church controlled artistic productions. For the past two and half millennia. The first argument is historical. but value-laden. like music. each with their own individual aesthetic standards. historically. not only to determine if it is beautiful. but also to establish if it is morally compatible with biblical teachings.” “For example. but his writings tend to be above the comprehension of the average reader. I was worried that it might be too deep for the average reader. The notion that creative arts.” “A body of research now exists that demonstrates that music does communicate meaningfully in a way that can and ought to be evaluated for appropriateness. the notion that aesthetic arts are not subject to moral accountability continued. classical. and even rightness or wrong18 ness in a given context.” The fourth argument is philosophical and yet very practically stated: “What rules the heart. if this were not the case a music 17 soundtrack would be pointless.An Overview of the Music Debate
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I must confess that when I first read Stefani’s essay. Thus. every human creation reflects a degree of moral involvement. incorporating music on a film soundtrack takes for granted that music impacts all people similarly. “They are veritable
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. Indeed. and a host of other musics. A trusted friend encouraged me to include Stefani’s essay in this symposium because some of the readers are well-educated and will appreciate his scholarly and compelling response to the alleged moral neutrality of music. jazz. music has been considered to be such a potent and influential force in society that leading philosophers and politicians advocated its control by the nation’s constitution. including music. He is a brilliant scholar whom I highly respect. The result has been that “rock. When the church lost its hold and society became secular. Stefani presents four major arguments. Country and Western. The third argument is based on the scientific research of the past several decades which has shown that music “dictates feelings. 16 even in worship contexts. In a sin-infested world. Christians are called to examine music. rap.” Stefani shows with compelling logic that musical styles are not neutral. forms the art. Simply stated.

said: “Music is made up of many ingredients and. philosophical or orgiastic. David took the lyre and played it with his hands.”19 Rock star Jimi Hendrix states the same view most emphatically: “You can hypnotize people with the music and when they get at their weakest point you can preach into their subconscious minds what you want to say”20 The truth of Hendrix’s words have been known to the business world for long time. because it shows that ultimately the battle over music styles is a theological battle over our understanding of God. The question is: Does the church music serve to worship the holy and transcendent God of biblical revelation or a casual. both in its secular and “Christian” version.An Overview of the Music Debate
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embodiment of beliefs. The Musak Corporation. famous composer and former head of the Eastman School of Music in Rochester. The non-neutrality of music is clearly recognized by musicians themselves. which distributes music for businesses. Leading companies and commercial establishments now employ the Musak concept to improve environment. New York. so Saul was refreshed. Rock music today. It has power for evil as well as good. according to the proportion of these components. and performance. ennobling or vulgarizing. and was well.” In his dissertation he traces with compelling clarity the correlation between the evolution in the understanding of God and the development of new musical styles during the course of Christian history. “Whenever the evil spirit from God was upon Saul. who was called to soothe King Saul whenever troubled by an evil spirit. Ultimately. attitudes. This view of God promotes a strong physical and emotionally stimulating music by means of repetitive rhythms in order to achieve a direct contact with or experience of the divine. and
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.” The Bible itself discredits the notion of the neutrality of music through the story of David. it can be soothing or invigorating. For example. people sense that their music stands for the God whom they want to worship. Businesses know that certain kinds of music can increase sales while other kinds of music can actually reduce sales. intuitively. reflects an immanent “God within us” perception. Howard Hanson. advertises its services saying: “The science of stimulus progression employs the inherent power of music in a controlled pattern to achieve predetermined psychological and physiological effects on people. This is an important concept that I have explored in Chapter 2. personal-lover type of Being created by human imagination? The debate over this question is intense and will not go away because. what is at stake in the battle over music is the understanding of the very nature of God being worshipped.

” The advice that Case gives to teenagers about listening to “Christian rock” is as follows: “Does your music increase your faith in God and love for Him? If so. It is only its improper use that is morally wrong. not by the singing of David. but purely by the instrumental music. often answers questions about “Christian rock” in Insight. What is your bias about ‘Christian rock’? Do you already 21 think it’s OK or not OK?” For Case. (2) Rock Music Is Not Immoral Closely related to the alleged moral neutrality of music is the popular assumption that the various types of rock music are just another musical genre that people may like or dislike. He wrote in another article: “Musical preferences are 22 personal. For example. a veteran Adventist youth pastor and president of Piece of the Pie Ministries for youth. including the North American Division of SDA. For the sake of accuracy.An Overview of the Music Debate
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the evil spirit departed from him” (1 Sam 16:23). keep listening to it? If not. depending on their musical preferences or culture. nothing is immoral with rock music per se. Note that Saul was affected physically. be willing to make good changes 23 or turn it off. Now I answer questions on ‘Christian rock’ by asking. popular among many evangelical churches.” A similar view is expressed in the symposium Shall We Dance. To the question: “Is there really any such thing as ‘Christian rock’? Would God listen to it or approve it?” Case replies: “I used to answer this question by saying that Christian rock is the devil’s attempt to sneak into the church. The notion that music is neutral apart from its words is discredited by Scripture. . the official Adventist magazine for teenagers.” It is comforting to know that the book. though sponsored by major Adventists institutions.
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. and common sense. is gaining credence in the Adventist church as well. emotionally. . Steve Case. it must be stated that the opening statement of the introduction makes this disclaimer: “This book is not an official statement of the Seventh-day Adventist Church regarding stan24 dards and values. Christians can legitimately use rock music to worship God and proclaim the Gospel. which is sponsored by several Adventist organizations. This view. Which also means that musical tastes/preferences can change. Yet it still remains a popular deception used to justify the acceptance in Christian homes and churches of the pop music that stimulates people physically rather than elevating them spiritually. By changing its lyrics. Thus. and spiritually. the private or church use of “Christian rock” is a matter of personal bias. does not reflect the church standards and values. . science.

Many more are learning the wider joys of an eclectic musical taste. social. and lyrics to promote. and an open rejection of the Christian faith and values. most people fail to realize that there is more to rock music that meets the eye or ear. social. homosexuality. My analysis of rock music is in Chapters 2. The many months of painstaking investigation into the philosophical.” The Response. Is the personal taste or preference of teenagers a valid criterion for determining whether or not they should listen to “Christian rock”? Can we expect teenagers to understand the ethical.An Overview of the Music Debate
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Regarding the use of “Christian rock. civil disobedience. masochism. rhythmic demands of rock. If that impact battles against my spiritual 25 sense. satanism. Each of us must give our own answer to the question of the music itself. 3. I must confess that I myself was ignorant on this matter until I became involved in this research. sexual perversion.” the symposium suggests that its use is a matter of personal taste and experience. The pantheistic conception of God has facilitated the acceptance of rock music among Christians and secularly minded people. Truly I can say that this research has been an eye-opening experience for me and I can only hope that the results of our labors will benefit many people. then I can judge it to be acceptable. In Chapter 2 on “The Worldview of Rock Music. then I must conclude that music is wrong for me. impersonal. A contributing factor is a lack of understanding of the intrinsic nature of rock music. church. a pantheistic/hedonistic worldview. “Some have experienced the [spiritual] impact through the loud. and religious values communicated by rock music in any form? Can we blame young people for listening to rock music if we do not help them to see the dangers posed by such music? It would appear to me that part of the problem of the increasing number of Adventist youth becoming addicted to various forms of rock music is the lack of strong leadership in the home. Briefly stated. If its physical and emotional impact is in harmony with the spiritual song I want to sing. supernatural power which the individual can experience through the hypnotic rhythm of rock music and drugs. among other things. occultism. and religious aspects of rock have convinced me that this music is a revolutionary “religious” countercultural and anti-Christian movement which uses its rhythm. and school. Unfortunately. ethical.” I found that rock music reflects a pantheistic conception of God as an immanent. this is what I learned. violence. melodies.
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. 5. 4. accepting the impact of a variety of styles on a variety of moods and needs. since both groups seek to fulfill the inner urge for a pleasurable experience of the supernatural through the hypnotic effects of rock music.

etc. The latter are discussed more fully in Chapter 8 on “The Effects of Rock Music. The latter involves the use of rock music. sound and blameless at the coming of our Lord Jesus Christ” (1 Thess 5:23). and physical components of our being. rap rock. By stimulating the physical. thrash rock. Christians should respond to rock music by choosing instead good music that respects the proper balance among melody. mental.” I discovered that rock music differs from all other forms of music because of its driving. The proper balance among these three reflects and fosters the order and balance in our Christian life among the spiritual. . and dance to transcend the limitation of time and space and to connect with the supernatural. loud. In Chapter 4 on “The Rock and Roll Religion. rock music throws out of balance the order of the Christian life. Scientific studies have shown that the rock beat can alter the mind and cause several physical reactions.
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In Chapter 3 on “Rock Music from a Historical Perspective. sensual aspect of the human nature. Good and balanced music can and will contribute to keep our “spirit and soul and body . In whatever version. relentless beat.” authored by Tore Sognefest. rock music is and remains a music that embodies a spirit of rebellion against God and the moral principles he has revealed for our lives. New types of more perverted forms of rock music are constantly appearing because rock addicts constantly demand something stronger and stronger to meet their craving. harmony. A Norwegian musician and author of the book The Power of Music. heavy metal rock. It makes the gratification of the carnal nature more important than the cultivation of the spiritual aspect of our life.” I learned that rock music has gone through an easily discernible hardening process from rock ‘n’ roll to hard rock. The factual information gathered about the nature of rock music during the course of this investigation makes it abundantly clear that such music cannot be legitimately transformed into Christian music by changing its lyrics. acid rock. . In Chapter 5 on “The Rock Rhythm and a Christian Response. and rhythm.” I found that the pantheistic worldview promoted by rock music has eventually led to the rejection of the Christian faith and to the acceptance of a new kind of religious experience. sex. including sexual arousal. drugs.

“David and others who wrote the Psalms composed some of the greatest songs and lyrics in literature. and when they sang accompanied by tambourines and
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.” To justify the adoption of pop music for worship and evangelism. Only six percent listed classical music as music of their choice. entitled “The Triumph of Praise Songs—How Guitars Beat Out the Organ in the Worship Wars. We have the baby-boom generation to thank for much of this. Miriam. and identity.” This new “sectarianism of worship style” is characterized by the adoption of religious rock. The baby-boomers’ taste for rock music that has reshaped our society 26 is now ruling the worship service as well. The rock beat has become so much a part of their lives that they inevitably want to hear it in their church music as well. “Since the 1950s.” which appeared in Ministry (February 2000). denominational divisions have steadily become less important in American church life. with a bias against organ music. which reflects the baby-boomers’ taste. synthesizers have replaced organs. They argue that rock is part of today’s culture and thus it is needed to penetrate the rock generation. Overheads have replaced hymn books. But at bottom we are all still sectarians. reports that praise bands and worship teams are fast replacing organs and choirs. John A.An Overview of the Music Debate (3) Rock Music and Evangelism
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The debate over whether “to rock or not to rock” in evangelism is taking place across denominational lines. This popular view is embraced by increasing numbers of Adventists. The defenders of the use of rock in evangelism appeal to practical considerations. Solomon writes: “Baby Boomers have been heavily influenced by music with a beat. and drums and 29 guitars have taken their place in the repertoire of church music instrumentation. we still prefer to congregate with the like-minded. sound. Citing recent research. The new sectarian creeds are the dogmas of music. In the article “Worship and Praise: One Model for Change in the Worship Hour. and David who used “exuberant” music. Solomon appeals to Moses. Our new sectarianism is a sectarianism of 27 worship style. Hamilton. If the church wants to attract the rock-and-roll generation. the church must 28 offer them the kind of music they are accustomed to. 1999).” captures vividly how pop music is replacing traditional music in many churches today. A recent cover article in Christianity Today (July 17. Solomon argues that if we want to reach the Baby Boomer generation. then it had better offer them the music to which they are addicted—or else. The author of the article. Michael S.

”32 Chapter 11. and currently as Music Director of the SDA Baden-Wuerttemberg Conference in Germany (1995-2000). it does the cause of Christ much harm by painting an untrue picture of what the Christian life is. He is currently working on his doctoral dissertation on reformed hymnody between 1700 and 1870 at the Sorbonne University. Professor of Church Music at Evangel University and author of two major books. synagogue. endeavoring to help young people overcome their addiction to rock music.” which appeared in Adventist Review (July 17. Hence.An Overview of the Music Debate
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cymbals and the trumpet. who for the past 15 years has served. besides giving rise to numerous bands. M.. but as a ministry tool to rescue a new generation 31 from rampant secularism and show them the saving grace of Jesus. ecstasy filled the air (Ps 145-150). I feel greatly honored by his willingness to contribute two chapters to this symposium. Prof. reports on eight successful Adventist bands. The point is that God used this music. Johansson is a leading authority on church music and is frequently quoted by authors dealing with this subject. it may certainly be done in a variety of ways now. in Paris. He concludes that “Pop characteristics are antipathetic to gospel characteristics. “Christian Rock and Evangelism. “Pop Music and the Gospel. Johansson compares and contrasts the values of pop music with those of the Gospel in eight specific areas. Chapter 10. pop is useless in spiritual endeavor. a German Adventist musician.” The Response. “exuberant” music for divine worship is encouraging the adoption of CCM in Adventist worship and evangelism. 1997).” is written by Güenter Preuss. It seems obvious that a music (pop) which is so unlike the thing it is supposed to represent (the gospel) is unable to embody the gospel in its medium of witness (music). “These artists see their style of music not as rebellion against the system. these instruments. The major response to the use of rock music in evangelism is found in Chapters 10 and 11. 30 If He did it then. D. Prof. The notion that the Bible sanctions rhythmic. Johansson. first as Chairman of the Music Department of the Adventist College and Theological Seminary at Collonges-sous-Salève in France (1985-1995). If it is used. In Chapter 10.” is authored by Calvin A. Music and Ministry: A Biblical Counterpoint and Discipling Music Ministry: Twentyfirst Century Directions.” Later we show that none of the “exuberant” music mentioned above was ever used in the worship of God in the Temple. Preuss has been deeply involved in the Adventist rock scene in Germany. He submitted to me a manuscript of almost 100 pages loaded with documentation
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. and actions to bring glory to Himself. The article “Making Waves. or early church. A.

it obviously is not able to challenge the youth with the moral claims of the Gospel. It makes people believe that they are all right. I hope that someday he can publish his unabridged research. but questions the legitimacy of using rock music. partly because he has witnessed the impact of rock music on Adventist youth in Germany. and the demeanor of pop singers contain so much that is sensual and sexually suggestive that they can hardly communicate the holiness and purity of the Kingdom of God. Preuss commends the search for effective ways to reach secularminded people with the Gospel. Listeners to religious rock will never be humbled by the majesty of God.” Preuss finds that the idiom of rock music is unsuitable to communicate the Gospel because the medium affects the message. how can we paint in vivid colors the contrast between the kingdom of this world and the Kingdom of God? Paul recognized that the Gospel cannot be proclaimed through deceptive. the lights. He convinced me immediately that he is a true German scholar. worldly gimmicks. Let me assure you that it was not an easy task for me to reduce his essay to one fourth of its original length. and the amazing grace of the Gospel. that your faith might not rest in the wisdom of men [or 34 we might say “in worldly excitements”] but in the power of God” (1 Cor 2:4-5). Our responsibility is not to contaminate this message with worldly
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. on thought associations. But rock music misrepresents the claims of the Gospel by encouraging worldly values. The medium used to win the youth determines the nature of the message to which they are won. and violence. The New Testament summons us to present clearly and compellingly the holiness of God’s character. These are issues of life and death which cannot be presented with the frivolity and flippancy of pop music. He wrote: “Rock music in evangelism works on imagination. which is associated with sex. The relentless rock rhythm. when in reality they33 desperately need a radical change in their lives—a conversion experience. “God’s proven method of evangelism is the ‘foolishness of preaching’ (1 Cor 1:21).An Overview of the Music Debate
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and argumentation. Thus he told the Corinthians: “My speech and my message were not in plausible words of wisdom [or we might say “with the exciting sounds of Greek songs”]. If the church uses an entertainment type of rock music. eager to be comprehensive and thorough. but in demonstration of the Spirit and of power. the desperate human plight. If we adopt a worldly appearance to attract the crowd. the movements. He has committed to us the message of reconciliation (2 Cor 5:18). as any music. drugs. nor will they be convicted of God’s moral claims upon their lives.

A. There is no need for the manipulation and stimulation of rock music to save people. is based upon and is driven by a beat that overshadows and dominates all other musical elements. composer. including the book What God Says About Music. heavy beat. . punctuated by a regular.” by a highly respected Afro-American musician. but ultimately. “Rock Music and Culture. Osterman. This important issue is examined in Chapter 12. especially the enjoyment of illicit sex before 37 or outside marriage. Each culture defines its music according to its own criteria. and author of several publications.” “The roots of the rock beat are to be found not in the religious music of the African-American heritage.” “The distinction that we find in African-American music between the religious Negro Spiritual and the secular. consequently. and rock music allegedly reflects the roots of the AfricanAmerican culture which can be traced back to West African slave culture. like rock music. Osterman points out that “the prevailing assumption that rock music is a legitimate expression of African-American heritage ignores the significant differences that exist between the two. To deny to the Blacks the right to play rock music in their churches means to deprive them of their cultural heritage. that brings people into a saving relationship with 35 Jesus Christ. rock music creates division and influences36 rebellious attitudes toward moral values and a disrespect for authority. is a legitimate form of expression. Eurydice V. While heritage music preserves and fosters unity. D. Rock music. . The mood of the Blues is one of sadness. it is the proclamation of the Word of God. irreligious Rock and Roll reminds
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. Professor of Music at Oakwood College. M. The emphasis is on the pleasures of this world. Evangelism has been and is greatly aided by Christlike music presented by Christlike performers. on the other hand. Dr.An Overview of the Music Debate
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idioms. accompanied by the convicting power of the Holy Spirit. The Response.. African-American heritage music is predominantly melodic and is based upon the rhythm of the dialect. They wanted to become respected entertainers by playing a secular music.” (4) Rock Music and Black Heritage In the Black community there is a prevailing assumption that rock music is part of the African-American heritage and. but in secular and often irreligious music known as ‘Rhythm and Blues.’ This music became the expression of those Blacks who strayed away from or rejected the Christian faith. .

my whole being is involved. This popular argument is examined especially in Chapter 7 “Biblical Principles of Music. The same view is found in Adventist literature.” He continues listing the variety of instruments. First Chronicles 13:8 tells us that David and the Israelites played before God with all their might. He concludes his survey saying: “Several implications concerning the present controversy can be noted. In her article “Sing the Song of Gladness. First. like us today. The Response. praise Him with guitars. I am singing with ‘all my might. country. locations. and moods mentioned in the Bible. Miller is unaware that the Bible is very restrictive of the music and instruments to be used for divine worship. The prevailing assumption is that the Bible sanctions the use of rhythmic.” which appeared in Ministry (September 1996). organs. he may well have said something similar to this.’ That is. Steve Miller writes: “The most striking observation of biblical worship is its wealth of 39 variety and few restrictions on form. . And God’s Word does not even restrict 40 us to the array of forms listed in the Bible. In his book The Contemporary Christian Music Debate. praise Him with loud drums. . and banjos. Strawn de Ojeda argues that. lyres. dancing music and percussion instruments for divine worship. times of the day.”42 Is this really what David would say today regarding the praise of God during the divine service? A close look at the ministry of music established by David shows otherwise. and synthesizers. . people in Bible time worshipped the Lord by praising Him with “timbrels.”41 “If David had been writing today. stringed instruments. our creative Lord has allowed His creatures to exercise great creativity in worship. Anita J. would he have said. harps. This is the result of the fall of humankind which is present in every age. postures. volumes and sounds. is the appeal to certain Bible texts to defend the use of such music for church worship and evangelism.An Overview of the Music Debate
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us of the simple fact that in all cultures we can expect to find some music which is pro-Christian and some which is anti-Christian in its values.” where I survey the biblical teachMain Menu
. ‘All have sinned and fall short of the glory of God’ (Rom 3:23). .” (5) Rock Music and the Bible Perhaps the most significance aspect of the defense of “Christian” rock. cymbals. praise Him upon the electric guitar” (see Ps 150:3-5)? Putting it all into context. trumpets. and 38 culture. If my foot taps or my hands clap during a song. worshippers. and psalters. occasions. . manner. .” Surprisingly. ‘Praise Him with drums and clapping.

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ings regarding music. Those who appeal to biblical injunctions to praise the Lord with a variety of instruments and volume to justify the use of rock music today ignore two important points. First, in most cases the language of praise is figurative and hardly allows for a literal application to the divine service in God’s House. For example, Psalm 149:5 encourages people to praise the Lord on the “couches.” In verse 6 the praising is to be done with “two-edged swords in the hands.” In verses 7 and 8 the Lord is to be praised for punishing the heathen with the sword, binding kings in chain and putting nobles in fetters. It is evident that the language is figurative because God would hardly expect people to praise Him during a divine service by standing or jumping on couches or while swinging a two-edged sword. The same is true of Psalm 150 which speaks of praising the Lord “for his mighty deeds” (v. 2) in every possible place and with every available musical instrument. The place in which to praise the Lord is “his sanctuary,” and “his mighty firmament.” The instruments include eight familiar instruments. This psalm makes sense only if we take the language to be highly figurative. For example, there is no way in which God’s people on earth can praise the Lord “in his mighty firmament.” The purpose of the psalm is not to specify the location and the instruments to be used for praise during the divine service, but rather to invite everything that breathes or makes sound to praise the Lord everywhere. The psalmist is describing with highly figurative language the attitude of praise that should characterize the believer at all times and in all places. To interpret this psalm as a license to dance, or to play drums in the church, is to misinterpret its intent. A second important point ignored by those who believe that the Bible authorizes them to play any instrument and music in church is the biblical distinction between secular music produced for entertainment and sacred music performed in God’s House. As shown in Chapters 6 and 7, the music and instruments used to praise the Lord outside the Temple during festival celebrations were different from the music played inside the Temple. Instruments like timbrels, flutes, pipes, and dulcimers could not be used in the Temple because of their association with secular entertainment. The same principle was respected also in the synagogue and early church, where no instruments of any kind were allowed. Had the instruments and the music associated with social (religious) entertainment been used in God’s House, the Israelites would have been tempted to turn their place of worship into a place of entertainment, as
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sometimes happens in some churches today. To prevent this thing from happening, instruments and music associated with entertainment were excluded from the Temple, synagogue, and early church. It is the ignorance of these facts that leads people to believe that the Bible sanctions the use of rock music for worship and evangelism. The lesson of Scripture and history is evident. Music, like rock, which is associated with secular entertainment is out of place in God’s House in which we gather to worship and not to be entertained. (6) The Role of Luther A popular argument used to defend the adoption of rock tunes for church music today is the alleged borrowing of secular music by Christian songwriters in the past. Anita J. Strawn de Ojeda wrote in Ministry: “History shows that Christian songwriters borrowed elements from secular music.”43 She refers specifically to the early Christians and Luther. The reasoning is that if Christians in the past adopted and adapted secular music for church use, we can do the same today. The example of Luther is often cited because of his enormous influence in introducing congregational singing at the time of the Reformation. Steve Miller wrote: “The models for his [Luther’s] lyrics were the popular ballads of his day. The tunes were borrowed from German folk songs, the music of the masses, and even a hymn to Mary. Luther was not concerned with the association or origin of the tunes as he was with their ability to communicate truth.”44 In a similar vein, Michael Tomlinson wrote in Ministry: “Eliminating the secular roots of Christian music would mean to say good-bye to the hymns of Martin Luther, whose music was borrowed from secular German folk tunes.”45 The Response. In view of the popularity of this argument, I took time in Chapter 2 to investigate if it is true that Luther borrowed from the secular, popular tunes of his day to compose his chorales. What I found is that this argument is just as misleading and inaccurate as the previous ones mentioned so far. Let me mention here only three facts, since the rest of the information is available in Chapter 2. First, of the thirty-seven chorales composed by Luther, only one tune came directly from a secular folk song. Fifteen were composed by Luther himself, thirteen came from Latin hymns or service music, two had originally been religious pilgrims’ songs, four were derived from German religious folk songs, and two are of unknown origin.46 What most people ignore is that even the one tune borrowed from a folk song, which “appeared in Luther’s hymnal
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of 1535, was later replaced by another melody in the 1539 song book. Historians believe that Luther discarded it because people associated it with 47 its previous secular text.” Second, Luther changed the melodic and rhythmic structure of the tunes he borrowed from secular sources in order to eliminate any possible worldly influence. In his scholarly book, Martin Luther, His Music, His Message, Robert Harrell explains: “The most effective way of [negating] worldly influence would be to ‘de-rhythm’ the music. By avoiding dance tunes and ‘de-rhythming’ other songs, Luther achieved a chorale with a marked rhythm, but without the devices that would remind the people of the secular world. So successful was the work done by Luther and other Lutheran musicians that scholars were often unable to detect the secular origins of chorales. The other way in which Luther sought to remove secular associations from the mind of the congregation was through the use of Scripture and scriptural allusions in the texts. By filling his chorales with the written Word, Luther sought to direct the thoughts of his people toward the Living Word.”48 Harrell concludes his well-documented study, saying: “A study of Luther’s chorales reveals two important facts about Luther’s use of secular elements in his sacred music: (1) Although there was much popular music available to him, from drinking songs to dance tunes to religious folk songs and carols, Luther chose only those tunes which best lend themselves to sacred themes and avoided the vulgar, ‘rollicking drinking songs’ and dance tunes. (2) No material which Luther used for a chorale remained unchanged, except for the one case noted previously. Rather, ‘he carefully tested the melodies he considered, and when necessary molded them into suitability. . . . Alteration were freely made.’”49 Third, Luther arranged music for young people of his time in a way to lead them away from the attraction of worldly music. This cannot be said of “Christian” rock music today which retains the melody and rhythm of secular rock. Luther explained why he changed the musical arrangements of his songs: “These songs were arranged in four parts for no other reason than that I wanted to attract the youth (who should and must be trained in music and other fine arts) away from love songs and carnal pieces and to give them something wholesome to learn instead, so that they can enter with pleasure into what is good, as befitting to youth.”50 In the light of these facts, anyone who uses Luther’s statement “Why should the Devil have all the good tunes?” to defend the use of rock music in the church, ought to know that the argument is clearly negated by what Luther himself said and did. Luther’s use of secular music teaches us not to sanitize
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rock music which promotes sex, drugs, and violence, but to choose instead the best music of our culture and make it a fitting vehicle to communicate the Word of God. What a marvellous example we have in Martin Luther! And how grossly distorted Luther’s example has been by those who wish to legitimize the use of rock for worship and evangelism! (7) Church Music and Adventist Theology The ongoing debate over the use of contemporary music in Adventist worship is largely based on subjective tastes or popular trends. But the music and worship style of the Adventist church should reflect its unique message and prophetic mission. Adventists should not accept uncritically the worship style of other denominations. In his book And Worship Him, Norval Pease, my former professor of worship at the Andrews University Seventh-day Adventist Theological Seminary, states: “We are Adventists, and we must approach worship as Adventists. A worship service that meets the needs of Methodists, Episcopalians, or Presbyterians may be unsatisfactory for us.”51 The answer to the Adventist worship renewal is not found in the adoption of “Christian” rock, but in a re-examination of how our distinctive Adventist beliefs should impact the various parts of the church service, including music. Such an ambitious undertaking is beyond the scope of this book. What I have attempted to do is to submit in Chapter 6 some preliminary reflections on “An Adventist Theology of Church Music.” The chapter attempts to define how the three distinctive Seventh-day Adventist beliefs of the Sabbath, Christ’s ministry in the heavenly sanctuary, and the Second Advent should impact on the choice and the performance of music during the divine service. Briefly stated these are the conclusions. The Sabbath teaches us to respect the distinction between the sacred and the secular, not only in time, but also in such areas as church music and worship. To use secular music for the church service on the Sabbath is to treat the Sabbath as a secular day and the church as a secular place. The study of the music of the Jerusalem Temple, as well as the heavenly sanctuary, reveals that instruments and music associated with entertainment were not allowed in the Temple services, nor are they used in the liturgy of the heavenly sanctuary. The lesson from the sanctuary is that church music must express great reverence and respect for God. Belief in the certainty and soon-appearance of the Rock of Ages, with the greatest musical band of angels this world has ever seen, can fire up the imagination of musicians today to compose new songs, and inspire Advent believers to joyfully sing about the hope that burns without their hearts.
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Seventh-day Adventists believe that we live today in the final countdown to the great controversy between true and false worship, as described in book of Revelation through the imagery of a beast that promotes the false worship of Babylon. This apocalyptic prophecy envisions the antitypical Babylon leading all the nations into the false worship of God (Rev 13:16; 14:8; 18:3). It is important to remember that the apocalyptic imagery of the false worship promoted by Babylon in Revelation derives from the historical chapter of Daniel 3, which describes an event of prophetic endtime significance. On the Plain of Dura, all the inhabitants of the Babylonian empire were called to worship the golden image of king Nebuchadnezzar. A fiery furnace was prepared for those who refused to do homage to the golden image. Daniel informs us that “every kind of music” (Dan 3:7, 10) was used to cause all classes of people from all the provinces of the empire to corporately worship the golden image (Dan 3:10). Twice in Daniel 3 there is a long list of the different musical instruments used to produce “every kind of music” (Dan 3:7,10). This eclectic music was played to induce people to worship the golden image. Could it be that, as in ancient Babylon, Satan is using today “every kind of music” to lead the world into the endtime false worship of the “beast and its image” (Rev 14:9)? Could it be that a Satanic stroke of genius will write Gospel songs that will have the marking of every taste of music: folk music, jazz, rock, disco, country-western, rap, calypso? Could it be that many Christians will come to love this kind of Gospel songs because they sound very much like the music of Babylon? Rock Music and Endtime False Worship. Historically, Adventists have identified Babylon with the power of the papacy that will lead the world into perverted forms of worship. While acknowledging the prophetic role that the papacy has played in leading many people to believe in the intercessory role of Mary and the saints, one wonders if rock music also will play a vital role in promoting the end-time false worship! This would not be the first time in Scripture that music is connected to false worship. At the foot of Mount Sinai music and dancing were involved in the worship of the golden calf (Ex 32:19). In the plains of Moab, on the borders to the Promised Land, the Israelites were “beguiled with music and dancing”52 into a terrible apostasy (Num 25:1-2). They were lured through music to participate in heathen worship—something which they may have resisted under other circumstances.

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An Overview of the Music Debate

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The universal and revolutionary impact of rock music upon humanity at large is recognized by many social analysts. In his book Rock Music, sociologist William Schafer acknowledges that rock music has become a worldwide “tool for altering consciouness.”53 When Bob Geldorf organized his “Live-Aid” program to raise money for the Ethiopian famine victims, popular rock bands joined in from different parts of the world. Linked via satellite, the program generated such a worldwide interest that sociologists began to explore music as a phenomenon for “the formation of an international youth culture . . . based on common, worldwide tastes and values.”54 No other music today transcends cultural and national bounderies like rock. From Minneapolis to Moscow and from Stockholm to Johannesburg, the rock beat reigns supreme. The global impact of rock music, its open rejection of the Christian faith, and its promotion of a new religious experience characterized by rhythmic music, sex, drugs, and dance, could well prove to be the most effective medium for leading mankind into the final apocalyptic false worship. In their thought-provoking book, Music in the Balance, Frank Garlock and Kurt Woetzel acknowledge that “A large segment of the Christian community has enthusiastically embraced this music of the world, the associated antics, and the philosophy. All three have been implanted into the life of the church. Not only have many Christians accepted the music as suitable for praise and worship, but an atmosphere pervades the contemporary Christian concerts not unlike the early concerts of the Elvis era. Believers have made idols of their own rock and roll singers and continue to worship at their feet with devotion and their pocket books.”55 Wolfgang Stefani perceptively asks: “Could it be that by fostering a homogenized global musical style—a style that is increasingly visible in the Christian music culture—the stage is set for a global, religious identity response? A response that will allow people of all nations, all religious backgrounds to say, ‘Yes, this is my music, this is who I am: this is my music for being happy and religious and I am part of it; I am right at home now.’”56 The summon of the Three Angels Messages to come out of spiritual Babylon by rejecting its false worship could well include also the rejection of the rock music of Babylon. Soon the whole world will be gathered for the final showdown in the antitypical, apocalyptic Plain of Dura and “every kind of music” will be played to lead the inhabitants of the earth to “worship the beast and its image” (Rev 14:9). It is noteworthy that in Revelation the outcome of the showdown involves the silencing of the music of Babylon: “So shall Babylon the great city be thrown with violence, and shall be found no more;
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and the sound of harpers and minstrels, of flute players and trumpeters, shall be heard in thee no more” (Rev 18:21-22). Those who reason that there is nothing wrong with the music of Babylon may be conditioning themselves to accept the false worship promoted by Babylon. Satan has his own songs to promote the endtime false worship. Could it be that by adopting the music of Babylon, some will miss the chance to sing the New Song of Moses and of the Lamb? May this question resonate in our consciousness and challenge us to stand for truth like the three Hebrew worthies. ENDNOTES 1. Güenter Preuss, “Rock Music and Evangelism,” Chapter 13 of this symposium, pp. 304-305. 2. David W. Gould, Contemporary Christian Music Under the Spotlight (Oak Harbor, WA, 1998), p. 16. 3. Güenter Preuss (note 1), p. 305. 4. Bjorn Keyn, “A Look at Contemporary Christian Music,” private essay prepared for this symposium, p. 1. Regretfully I was unable to use this excellent essay because much of the same material is covered in other chapters. 5. “Making the Switch!” Insight (January 13, 1996), p. 13. 6. Roger Record “Contemporary Christian Music: Is It Better than Secular Music?” Insight (January 13, 1996), p. 8. 7. Ibid., p. 11. 8. See, Jeff Trubey, “Making Waves,” Adventist Review (July 17, 1997), p. 8-13. 9. Güenter Preuss (note 1), p. 306. 10. “Christian Rocker’s Creed,” CCM Magazine (November 1988), p. 12. 11. For a listing of about 20 statements from evangelical leaders who believe in the neutrality of music, see David W. Gould (note 2), pp. 19-21. 12. Michael Tomlinson, “Contemporary Christian Music is Christian Music,” Ministry (September 1966), p. 26. 13. Ibid.
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Religion and the Deconstruction of American Values. They easily found 56 rock enthusiasts for their study. and in an increasing number of churches. but in the work place. two social scientists at Temple University wanted to investigate the physical and emotional impact of rock music on students. rock music has come to dominate the musical taste of many people in various parts of the world.” sociologist Charles Pressler notes that “rock and roll music and its messages ushered in a new view of the world and a new mode of interpersonal relationships—and by nearly any definition. . the social effects of rock music can be described as ‘revolutionary. but when they tried to form a control group. . In the fifty years since its emergence. In his book Rock Music. social. In his essay “Rock and Roll. recreational places. Social analysts concur that rock music has become a primary force in shaping the thinking and lifestyle of this generation.”2 It is unquestionable that rock. sociologist William Schafer describes rock music “as one of the principal dialects in the language of culture. the shopping mall. and religious values of our society. . with music as a basic mode of communication and aesthetic expression. He simply acknowledges that rock has become a “tool for altering consciousness. clubs. “a significant sample could not be found that disliked hard rock music. A strong counter culture has built itself around a musical sensibility. health clubs. In 1976.”3 The Revolutionary Nature of Rock.Chapter 2 THE WORLDVIEW OF ROCK MUSIC by Samuele Bacchiocchi
Rock music is the most popular cultural phenomenon of the second half of the twentieth century and the single greatest propagator of the moral.”1 Schafer is not opposed to rock music. People listen to rock not only in the privacy of their cars or homes. in its various styles. is the most popular form of music influencing the world today.’”4 The revolution started by rock music has distinct religious -38Main Menu
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can lead to totalitarian modes of thought and action. superstition. anything contrary to the main current of Western thought. Associated with rock. sociologist Robert Pielke argues compellingly that the rock revolution which began in the 1950s has created a religious transformation of the American culture. much of the discussion about the pros and cons of “Christian” rock music has been superficial. instinctual man. Our research indicates that rock music embodies ethical. exotic religious thought. Some Christians consider “Christian” rock music an outrageous worldly compromise. a means of communicating emotions . the introduction of “Christian” rock music during church services has become one of the most emotive and divisive issues that is splitting congregations in different denominations. while others think of it as a providential agent of renewal and evangelistic outreach. especially among those who believe that Christians should reject the “secular” version of rock music. Linked with this anti-intellectualism is an interest in the occult: magic. the medium is the message. The conflict has extended to many Christian churches where sanitized forms of rock music have been adopted. . At this point it suffices to note that the conflict of values stirred up by the message of rock music has pitted the youth of the rock generation against their rocking elders. . In his book You Say You Want a Revolution. the force of drug culture has been its promise to reveal the hidden. and religious beliefs which are antithetical to Christian beliefs and values. philosophical.The Worldview of Rock Music
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connotations that are examined in Chapter 4. In this study the term “Christian” is consistently placed between quotation marks when used to designate the religious version of rock music. a force uniting and amplifying ideas and feelings. this form of anti-intellectualism can be highly dangerous. for instance. In fact. The revolutionary nature of rock music is succinctly described by sociologist William Schafer: “Rock has acted as a catalyst. Our concern is to ascertain whether the nature of this religious transformation is a bane or blessing for the Christian faith. but accept the “Christian” version. The Presuppositions of Rock Music. Also directly connected is an obsession with the unconscious mind. The discussion centers primarily on the rhythm. the
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. a reverence for the instinctual. to free the individual from restrictions and limitations of his conscious mind and his gross physical body. It is a medium. including my own Seventh-day Adventist Church. the visceral—and a distrust of reason and logic. is a cult of irrationality. Unfortunately.”5 More will be said during the course of our study on the philosophical presuppositions of rock music. The reason is simple. social.

and other forms of human perversion. atheism. and the lifestyles of the artists. let me state at the outset the findings of this investigation. whether it be its secular or “Christian” versions. necessitates an understanding of the worldview (theological presuppositions) that gave rise to such music. Objective of This Chapter. This means that our understanding of God and of His revelation gives meaning to our life and shapes our activities. weakening its witness to the world today. This worldview openly rejects God and His revealed moral principles. rock music knocks the props out of the Christian faith by making God a commodity used for personal gratification. An evaluation of rock music. the physiological and psychological impact of rock music. The first and broad objective is to examine how the production of music during the history of Western Christian thought has been influenced by
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. Any attempt to sanitize and convert rock music into a medium to worship God and proclaim the Gospel ultimately prostitutes the Christian faith. drugs. and why is the rock “creed” so widely accepted today? An understanding of the worldview of rock music provides a basis for determining whether or not rock music can be legitimately sanitized and made into a medium to worship the Lord in the beauty of holiness and to evangelize the unconverted. as interpreted by contemporary composers. The changing styles of church music usually reflect a change in the worldview of the time. Human activities are shaped by the presuppositions of individuals and nations. but what is even more important is an understanding of the philosophical and theological presuppositions espoused by rock music. violence. the occult. these presuppositions form what we call a worldview which affects everything we are and do. What are some of the fundamental beliefs that rock music contains and proclaims. The reasons for this procedure will become evident by the time the reader reaches the latter part of the chapter. Our study shows that by shifting the locus of faith from God to self. Rock music embodies and promotes a humanistic/pantheistic worldview which stems both from its Western African roots and secular humanism. amoralism. materialism. the graphics of the music’s packaging. These are important factors which are considered in the next chapters. For the sake of clarity. This chapter seeks to understand the worldview of rock music by following what may appear to some as a tortuous procedure. individualism. Taken together. promoting instead hedonism.The Worldview of Rock Music
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lyrics. including the production of musical art forms. sex.

Two major studies have helped me to understand the relationship between the development of new religious music styles and the evolution of concepts of God.
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.”6 In terms of our present study. Both the style and content of church music reflect our understanding of God. . both in its secular and “Christian” versions. to the Lutheran chorale. Two Significant Studies. . we examine how the influence of humanistic ideas has shaped much of Western thought. Those who argue that the use of “Christian” rock in church worship is simply a matter of cultural or personal preferences ignore the fact that church music embodies and expresses our theological beliefs. . At the bottom line. His revelation. both in the secular and Christian world. The second and narrower objective is to consider some significant ideologies that account for the origin and worldwide popularity of rock music today. This is a most important observation that provides the key to understanding why the use rock music.The Worldview of Rock Music
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the evolution in the understanding of God. We focus on three significant areas. especially during the past two centuries. rhythmic music. The first study is the doctoral dissertation of Wolfgang Stefani on “The Concept of God and the Sacred Music Style” presented at Andrews University on October 1993. not of inconsequential aesthetic preferences. The historical shift from the transcendental understanding of “God beyond us” during the medieval period. and to today’s “Christian” rock. Stefani presents compelling documentation showing that “music styles are religiousvalue laden—they are veritable embodiments of beliefs about reality. Second. to the immanental conception of “God for us” during the sixteenth century Reformation. we look at how the modern manifestation of a strong immanental “God within us” conception has caused people to seek an immediate emotional experience of God through the stimulus of loud. We shall see that the convergence of these developments in our time has facilitated the adoption of rock music. The issues surrounding sacred music style discussions extends far deeper than petty likes and dislikes. threatens the very theological foundation of the Christian faith. and not merely a controversy about aesthetic music preferences. First. we discuss how the pantheistic/ immanent orientation of Western African music has influenced the worldview and style of rock music. Lastly. the clash over sacred music styles may well be a clash of underlying beliefs about the nature of ultimate reality. Stefani’s research suggests that the current debate over the use of “Christian” rock in church worship is ultimately a theological debate about our understanding of God. and to “God within us” perception from the seventeenth-century to our times helps us understand the gradual evolution of church music from the medieval chant. and our relationship with Him.

then worship is convoluted. But when the preoccupation is with the self . . Missouri. the most popular genre of religious music. oriented around the satisfaction of people. but He is more than personal. . unrelenting in its press for influence and control. Church music has been part of that change.”9 Part 1 THE EVOLUTION OF THE CONCEPT OF GOD AND OF MUSIC STYLES IN WESTERN CHRISTIAN THOUGHT The music used in Christian worship reflects a church’s understanding of God and of His revelation contained in Scripture. . has deeply affected the Christian church. Hoon perceptively explains that “Christian worship rests on a paradox. On the other hand. that God is both like and unlike man. worship becomes chatty intimacy. . as well as daily Christian living. shows many songs transparently. and tends to evaporate into vague states of mystical piety. On one hand. When the latter aspect is exaggerated. teaching. Evangelism.”8 Johansson notes that the change in church music brought about by contemporary humanistic influences can be seen in the relentless preoccupation with pleasuring self. He is personal. who dwells “with him who is of a contrite and humble spirit” (Is 57:15). He finds that “a survey of Contemporary Christian Music (CCM). Johansson shows how “tracing the history of Western worldviews gives us a clear picture of culture’s steady drift toward human autonomy. by the humanistic influence to make individuals and their desire supreme.The Worldview of Rock Music
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The second significant study is by Calvin M. He has written several books on church music. . have all been changed. God is revealed as an immanent Being. Paul W. albeit subtly. When the former aspect is exaggerated .”10 This apparent contradictory transcendent/immanent view of God has historically impacted Christian worship. worship loses its concreteness and reality. “the high and lofty One who inhabits eternity. . Johansson. devoid of reverence and evoking the more infantile elements in human personality.7 He has contributed two insightful chapters to this symposium. That move. God becomes a kind of divine pal. and worship. who is Professor of Music at Evangel College in Springfield. reflecting culture’s elevation of people over God. whose name is Holy” (Is 57:15). . In his book Discipling Music Ministry: Twenty-first Century Directions. even heretically. The problem is that there is an inherent paradox in the biblical revelation of God. God is revealed as a transcendent Being. including a doctoral dissertation. Worship styles have swung from
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thisworldly worship and artistic style. This was especially true of the mystery religions with orgiastic rituals designed to lead people into direct contact with the divinity. and rattling accompanied heathen cults. Their instruments and concert music gained little by little a firm foothold in the theater.13 As Hanoch Avenary observes: “Jingling.”12 In some ways.”14 Defenders of “Christian” rock music argue that they follow the tradition of Christians who in the past have adopted secular music and artistic
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. depending on the Christian understanding of God. the ecstatic rites of the pagan mystery religions which intoxicated the masses resemble the frenzy excitement caused today by rock concerts. Wolfgang Stefani offers a simple and useful categorization of this development under the following three headings: “(1) God beyond us. Amid this euphoric farewell feast of a dying civilization.The Worldview of Rock Music
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one extreme to another. The “God Beyond Us” Orientation Early Church. otherworldly worship and artistic expression. during the first fifteen centuries of Christianity. The swing from a predominantly transcendence-oriented. to an immanence-oriented. including church music. (2) God for us. The lesson of history is that it is essential to maintain a balance between a transcendent and an immanent view of God in order to ensure a healthy Christian life and worship. the voices of non-conformists were emerging from places of Jewish and early Christian worship. The transcendental conception of “God beyond us” prevailed.”11 These three categories serve as a basis for our historical survey which shows how each of these views of God has affected Christian life and worship during the course of Christian history. Alfred Sendrey notes that the pagan mystery religions brought to Rome “a great number of foreign musicians and dancers. banging. can be traced in the history of Western Christian culture. and the frenzying shawms of a dozen ecstatic rites intoxicated the masses. and were later copiously employed in the entertainment music of the Romans. Christians who believed in a holy transcendent God strongly rejected the musical extravaganza of pagan cults. though in different forms.
1. Music played an important role in these rituals and exerted an irresistible attraction for the masses. The early Christians strongly rejected the prevailing immanental orientation of pagan religions. and (3) God beside us/within us. where the gods were present and interacted with people.

the violence and immorality promoted by such shows were contrary to Christian values. or adopt. and you abhor the sacred contests. The popular view that rock music can be adopted and adapted to reach the secular society. Pagan Caecilius charges his Christian friend. Octavius. written by Minicius Felix. Octavius. but the debauchery is more prolonged: for now a mimic either expounds or shows forth adulteries. of abstention from social life. You do not visit exhibitions. or in any Christian country. but also from the musical instruments used for secular entertainment and pagan worship. They refused to attend their shows. We return to this point in Chapter 7. you have no concern in public display. not only from secular songs. suggests it.”—a term often used to denote their non-conformist lifestyle. but by rejecting the secular. hatred. contains a dialogue between a pagan. the same actor disgraces your gods by attributing to them adulteries. not by sanitizing the pagan forms of entertainment in order to use them to communicate the Christian message.”15 Octavious acknowledges the truth of this charge and explains the motives that prompted this abstention. Rejection of Secular Entertainment. is based on plain ignorance of the historical reality. you reject the public banquets. This argument can not be supported by the witness of early Christians who refused to participate in.”16 The early Christians survived and became a transforming force in the Roman empire. those secular forms of entertainment which were antithetical to the Christian message and moral values. immoral shows and values promoted by the Hollywood stars of their time. The truth of the matter is that the early Christians distanced themselves. even if it meant being ridiculed and rejected as “misanthropists.The Worldview of Rock Music
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forms to communicate the Christian message. A second-century document known as the Octavius. saying: “You are abstaining from respectable enjoyments. sighs. and a Christian. if all professing Christians would follow the example of the early Christians by refusing to watch or participate in any form of entertainment that promotes violence or immorality! The entertainment industry
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. because the church in the past has adopted secular music to reach the masses. while he feigns lust. In chapter 7 we shall see that Christians followed the tradition of the synagogue in prohibiting the use of musical instruments in their church services because of their pagan association. Caecilius. namely. “For in the chariot races who does not shudder at the madness of the crowd brawling amongst itself? Or at the teaching of murder in the gladiatorial combats? In the theater also the madness is not less. now a nerveless player. Imagine what would happen today in America.

Its avoidance of the secular associations that musical instruments might bring is particularly relevant to the current debate over the use of music and instruments associated with the rock scene.The Worldview of Rock Music
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would soon have to clean up their programs if they wanted to remain in business. . but also the way it was performed was influenced by the lofty conception of God and the avoidance of secular associations: “Performance practice. the prevalence of stepwise progression. . We find a glimpse of such music in the “Christ-centered” hymns of the New Testament.”18 The solemn. events. Music contributed little or nothing to dramatic/programmatic content or tone painting imitating the objects. Eph 5:14. Col 1:15-20). Music in the Early Church. the unfettered responses either to great joy or great sorrow. the calm and continuous movement. The use of regularly repeated metric units would have tended to arouse associations. Formal characteristics accorded with this tendency. Hence abstract quality has been a marked feature. The lesson to be learned from the witness of the early church is that the worship of a holy. especially in the book of Revelation (Rev 4:8.” She continues explaining that not only the structure of the music. . kinaesthetic movements and emotions incompatible with the notion of religiosity among Muslims and early Christians. 5:9. Even the use of the human voice or voices . In discussing how the transcendent vision of the divinity moulded the musical styles of both early Christianity and Islam. The relaxed tempos. awe-inspiring music of the early church was driven by a lofty view of God. relying on the human voice. the rejection of strong accents and changes of intensity or volume were likewise conducive to an attitude of contemplation and departure from worldly involvement. the frivolous. 1 Tim 3:16. . In the early church.
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. making elements of unity and change dependent upon correspon17 dence with poetic units rather than with narrative or descriptive factors. has avoided the sensual and imitative in order to enhance the spiritual effect on the listener. has avoided the secular associations which instruments might bring. . These were therefore avoided. . the avoidance of large melodic leaps— all these contributed to this demand. . as well as the chordal harmonies which could be suggestive of emotional or dramatic effects. ideas or feelings of this world. majestic God calls for sacred music which avoids secular associations. the music was largely inspired by the vision of a majestic. Lois Ibsen Al Faruqi offers this informative desription: “Religious music avoided the emotive. .11. transcendent God and Savior to be approached with awe and reverence. The limited range and contiguity of notes in Gregorian and Quranic chant.

. “the subject and aim of Christian cult music was and remained . or four parts sung simultaneously. In music. not pleasure. Christians adapted the artistic formulas used to extol the glory of the monarch to represent their conception of the omnipotence and transcendence of God. As Calvin Johansson points out. no chords. and drama had but one end—the praise of God. as Paul Lang points out. triple meter had religious significance because it was thought to symbolize the three persons of the Trinity. spiritual meaning. the devil in music. and not by the congregation. “was the transcendent God. Contemplation. “There were no ‘sacred’ and ‘secular’ categories. all singing consisted of one melodic line. idealism. and humankind was to be taught about Him and raised to His realm. whose participation in worship was minimized. not realism. In fact. .”19 The focus of church music. the glorification of God and the edification of man. no pianos. There was no harmony. known as chant. This was an incredible innovation. Hence. which consisted of one note sung at a time without harmony or accompaniment. no orchestras. Around the turn of the millennium. The musical interval of an augmented fourth was avoided because its lack of consonance was thought to represent the diabolus in musica. The development of sacerdotalism and sacramentalism distanced God even further from the direct experience of the worshippers.”20 The societal consciousness of God as the transcendent and omnipotent Ruler of mankind. music. that existed during the Middle Ages. Those who argue that the church in the past borrowed secular melodies to compose sacred music ignore the fact that medieval music
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. Lay members were spectators rather than participants in the church services. No cost was too much. Before polyphony.The Worldview of Rock Music
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The Middle Ages. no effort too great to bring to pass that which brought glory to the Creator. instruction.”21 For most of the Middle Ages sacred music was limited to the monophony of chant. medieval composers introduced polyphony— two. The imperial recognition and protection granted to Christianity in the fourth century did not significantly change the transcendent “God beyond us” view of the Godhead. not psycho-physiological power were the objectives. art was full of ecclesiastical symbolism. has never been equalled. the singing was performed mostly by the clergy. rather than involvement was the emphasis. three. These ideals can be traced in most Christian artistic expressions over a period of a thousand years. Art. where. as Wolfgang Stefani notes. The conception of “God beyond us” was reflected in the music of the time.

”23 Though battered by barbarian invasions and influences. the Reformation helped people to see God as a “kind” Being. The Role of Luther. They perceived God as a transcendent Being “beyond us” and their church music reveals their concern to honor the infinite and omnipotent Ruler of the universe. the “musical training” of most people consisted mainly of popular tunes picked up on the street. People lived to serve God with their work and church. Though God was still recognized as above and beyond.”22 “The differences between plainsong. In Luther’s day.” The Protestant Reformation played a major role in shortening the “distance” between God and the believer. beginning in the sixteenth-century. By stripping away the mediatorial role of priests and saints and by emphasizing the priesthood of all believers who have direct access to God. As Friedrich Blume points out. “people accustomed to singing only in a secular surrounding and to remaining silent in the traditional church . the medieval society remained oriented toward God and the church. Calvin and Zwingli censured the singing of lyrics not found in the Scripture. . troubadour and folk styles were less important than their melodic interpenetration and their common relationship to a timeless universal deity. unapproachable Judge was replaced by that of a loving God eager to save all those who accept the reconciliation provided through the atoning sacrifice of His Son. with an immanent conception of “God for us. Thus. allowing only the Psalms to be sung in worship. .The Worldview of Rock Music
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was very homogeneous. and there was “no distinction between the sacred and the profane until the beginning of the Baroque Era. The new vision of the nearness and accessibility of God encouraged the production of a music that was more expressive of everyday life. and in promoting congregational singing in the common language of the people. The “God For Us” Orientation The medieval transcendental orientation of “God beyond us” was gradually replaced. more than “above us. Contrary to Luther. 2.”24
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. “for us” and close to us. Luther played a leading role in producing music expressive of the new understanding of God and salvation. congregations were not allowed to sing in the Catholic church service. now they had to learn how to sing in the church. the shift in focus was on the loving Savior whom the believers could approach directly and personally.” The medieval vision of God as an exacting. rather than to seek personal enjoyment.

For example. whose music was borrowed from secular German folk tunes. wrote: “Martin Luther used melodies and rhythms familiar to the people for his chorales. On the contrary. popular tunes of his day. in his philosophy. Larry Norman. The tunes were borrowed from German folk songs.”27 The argument that we can borrow popular rock tunes.”25 In a similar vein. because Luther borrowed secular. Norman felt that if Luther could use melodies that were sung in pubs. the music of the masses. and not a sacrilegious type of music like most secular rock music today. and even a hymn to Mary. Professor of Church Music at the Seventh-day Adventist Theological Seminary at Andrews University. Luther and Secular Music. in his book The Contemporary Christian Music Debate. Contrary to Calvin.”26 In the same issue of Ministry (September 1996). First.28
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. he warned against the use of “erotic ranting” as being the devil’s means to corrupt human nature. for at least five reasons. Defenders of “Christian” rock argue that since Luther borrowed tunes from barroom songs of the day and added Christian texts to them (known as contrafacta). Luther used what may be called the “classical” music of his day. Luther was not concerned with the association or origin of the tunes as he was with their ability to communicate truth. wrote the song “Why Should the Devil Have All the Good Music. known as chorale. secular elements could be transformed according to a new understanding. Steve Miller wrote: “The models for his [Luther’s] lyrics were the popular ballads of his day. to which he added Christian text. is misleading and inaccurate. Lillianne Doukhan. wrote in Ministry: “Eliminating the secular roots of Christian music would mean to say good-bye to the hymns of Martin Luther. we can also borrow tunes from the rock music of our day and add to them Christian lyrics. Luther did not perceive the church as separate from society.The Worldview of Rock Music
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Luther developed a unique style of church music. erotic music of the day. contemporary musicians could do the same. Michael Tomlinson. by borrowing some familiar. a well-known CCM leader. Poor Luther! He would be shocked to know how his words have been twisted to say something totally different from what they were intended to mean. The appeal to Luther is frequent in pro “Christian” rock literature. singable tunes. Luther did not adopt the sensual. an Adventist pastor.” The title of the song is drawn from a statement which originated with Luther.

four were derived from German religious folk songs. writes Ulrich Leopold. Luther steered clear of them. So successful was the work done by Luther and other Lutheran musicians that scholars were often unable to detect the secular origins of chorales.”29 Second. which “appeared in Luther’s hymnal of 1535. and two are of unknown origin. Third.30 What most people ignore is the fact that the one tune borrowed from a folk song. His Message. from drinking songs to dance tunes to religious folk songs and carols. he derived very little from secular sources. but was careful to match text and tune. Rollicking drinking songs were available in the sixteenth century too. but never vulgar. Robert Harrell explains: “The most effective way of [negating] worldly influence would be to ‘de-rhythm’ the music. but without the devices that would remind the people of the secular world. who is regarded as the most competent composer of that century. thirteen came from Latin hymns or service music. .32 Luther Sought to Remove Worldly Connotations. In fact. Luther changed the melodic and rhythmic structure of the tunes he borrowed from secular sources in order to eliminate any possible worldly influence.” These facts discredit the popular assumption that Luther borrowed the majority of his songs from secular sources. so that each text would have its proper tune and so that both would complement each other. saying: “A study of Luther’s chorales reveals two important facts about Luther’s use of secular elements in his sacred music: (1) Although there was much popular music available to him. Luther achieved a chorale with a marked rhythm. By filling his chorales with the written Word. “were folky. Luther sought to direct the thoughts of his people toward the Living Word. Historians believe that Luther discarded it because 31 people associated it with its previous secular text. The other way in which Luther sought to remove secular associations from the mind of the congregation was through the use of Scripture and scriptural allusions in the texts. two had originally been religious pilgrim songs. only one tune came directly from a secular folk song. . By avoiding dance tunes and ‘de-rhythming’ other songs. He never considered music a mere tool that could be employed regardless of its original association . Luther chose only those tunes which best lent themselves to sacred
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. Luther’s favorite composer was Josquin de Prez.”33 Harrell concludes his well-documented study. was later replaced by another melody in the 1539 song book. In his scholarly book. of the thirty-seven chorales composed by Luther.The Worldview of Rock Music
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The tunes adopted by Luther. Fifteen were composed by Luther himself. Martin Luther: His Music.

. so that they can enter with pleasure into what is good.”35 In the light of this fact. while most secular rock music today openly rejects and defies the Christian faith and moral values.”37 In the light of these facts. as befitting to youth. This can not be said of “Christian” rock music today which retains the melody and rhythm of secular rock. Luther’s use of secular music teaches us not to sanitize rock music which promotes sex.The Worldview of Rock Music
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themes and avoided the vulgar. . The secular music of Luther’s day was largely inspired by a religious faith. drugs. The culture of Luther’s time was influenced by religious faith and moral values. Luther explained why he changed the musical arrangements of his songs: “These songs were arranged in four parts for no other reason than that I wanted to attract the youth (who should and must be trained in music and other fine arts) away from love songs and carnal pieces and to give them something wholesome to learn instead. ‘he carefully tested the melodies he considered. anyone who uses Luther’s statement “Why should the Devil have all the good tunes?” to defend the use of rock music in the church ought to know that the argument is clearly negated by what Luther said and did.” and not in the “Age of Skepticism” like ours. ‘rollicking drinking songs’ and dance tunes. Fifth. Under these conditions the disparity between sacred and secular music could at first hardly become a problem. The major universities and the fine arts were controlled or sponsored by the church. What a marvellous example we have in Martin Luther!
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. Luther arranged music for young people of his time in a way to lead them away from the attraction of worldly music. but to choose instead the best music of our culture and make it a fitting vehicle to communicate the Word of God. “to say that Luther borrowed from secular sources is to admit that he relied on.’”34 Fourth. and violence. The distinction between secular and religious music was relative. Friedrich Blume explains: “Protestantism preserved the medieval classification of the world. (2) No material which Luther used for a chorale remained unchanged. it is important to note that Luther lived in the “Age of Faith. except for the one case noted previously. Alterations were freely made. a religionbased culture. with secular art subjected to an intellectual discipline characterized by piety and churchliness.”36 There is a world of difference between the secular culture of Luther’s time and that of our times. and when necessary molded them into suitability. Rather. . at the worst.

This development from “God beside us” to “God within us” began in the seventeenth century and has continued to our time. follows a similar orientation in offering to its fans the means to plug in to a “supernatural” power. The second category—‘God within us’—included nineteenth-century American Revivalism. sentimental. and Pentecostalism. as Calvin Johanssen explains.”39
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. and Evangelicalism. Methodism.The Worldview of Rock Music 3. Gospels songs such as ‘My Mother’s Prayer. The personal and internal experience of the divine became the hallmark of Pietism.”38 A common characteristic of these movements was the adoption of tunes for evangelical hymn books derived from the music of the opera house and concert halls. While both highlighted the closeness of the Divine. as we shall see. the Holiness movement. The first stream stressed daily. as well as ‘I am Coming. Evangelicalism. and appealing to the senses. and Pentecostalism. The immanent aspect of the immediate and intimate experience of God has been increasingly emphasized.” which. whereas the latter favored a more unrestrained. Wolfgang Stefani notes two different streams among these movements—streams which have been gradually merging together in the late twentieth century. Dear Saviour.’ were typical of the genre’s selfish orientation. Many a dear familiar spot Bro’t within my recollection Scenes I’d seemingly forgot’). Methodism. “gave new meaning to the concept of religious self-interest. emotional. intuitive approach.’ (‘As I wondered ‘round the homestead. while the second placed emphasis on the abandonment to the Spirit’s control. “The first category—‘God besides us’— included Pietism (in its initial seventeenth.and eighteenth-century phase). A good example of the self-orientation in music is the “Gospel song movement of the nineteenth century. This was especially true in the rapidly developing Charismatic movement. cooperative relationship with the Holy Spirit. Church music became very self-oriented. the Holiness Movement. American revivalism.” promoted by the sixteenthcentury Reformation. progressively moved more and more toward a subjective understanding and experience of God. Rock music. The “God Beside Us/Within Us” Orientation
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The immanent concept of “God for us. the former adopted a more reasoned posture. Self-Orientation in Music. Coupled with melodramatic nostalgia. Songs such as ‘Will There Be Any Stars in My Crown?’ and ‘A Sinner Like Me’ were typical of the ‘me-centrism’ of culture’s progress. The goal of music was to cause people to experience an ecstatic encounter with God at the emotional level. they joined the trend toward complete subjectivity.

This in turn shifted the focus from thinking to feeling.”42 Pentecostal “God Within Us” Experience. and producer of Contemporary Christian Music (CCM). the desire for charismatic experiences gradually eclipsed their desire to learn of God through the Bible. partly due to charismatic influence. in his book At the Crossroad: An Insider’s Look at the Past.” which is sung by the popular “Christian” band known as “Vengeance. acknowledges the shift from God to self that has occurred in CCM. which ends with the screams of tortured sinners. think I’ll buy a forty-four and give ‘em all a sunrise. the focus shifted from knowing God through His Word to knowing God through experience. an awarding-winning artist. Even the recently knighted Sir Elton John. Charlie Peacock. think I’m gonna kill myself. which speaks far more of “I” and “me.” than of Christ and God. .” I want (my) head chopped off You’ll see (my) body rot But then (I’ll) reign with Christ And then you will fry. Present. The same selforientation is present in many “Christian” rock songs. foot stomping.41 This outrageous “Christian” song. and dancing in the spirit. as we shall see in the next chapter. songwriter. to focus on the human dilemmas. The present search for a charismatic experience through music can be traced to the early Pentecostal music of the nineteenth century. especially spontaneous revelational prophesying and speaking in tongues. Yea. . reveals a clear direction in rock music. rather than on God’s provision for the salvation of every human being. and Future of Contemporary Christian Music.44
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. author of the popular song “Candle in the Wind. namely.” does not hesitate to sing about his solution to boredom: I’m getting bored being part of mankind. An example can be found in the words of the song “Beheaded. . wherein for many believers their experience became as much the measure of truth as the sure Word of Truth. He writes: “By emphasizing the work and gifts of the Holy Spirit. this solution is hardly surprising when “self” displaces God in a person’s life.40 What a tragic way to find a solution to boredom! Yet. For some Christians. which usually took up to two-thirds of the worship service.43 The music was characterized by hand clapping. cause a little suicide.The Worldview of Rock Music
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This self-orientation characterizes much of secular and “Christian” rock music.

1900: “It is beyond description. . together with drama and mime. a granddaughter of Ellen White. .48 An unusual manifestation of such an experience occurred at a campmeeting. to shout. three horns. I do not think I overdraw it at all. rhythmic music. of their number would fall prostrate to the floor. The spirit moved some to dance. I have been through scenes of fanaticism. nor hear anything. at the altar. Stephen Haskell. leaving only the piano player and a tambourine whacker whom I could not see. as Ronald Graybill has documented. held in Muncie. It was expected that one. worn out. one bass viol.”45 Repetitious choruses with tunes of secular origin. He would then be carried to the platform.The Worldview of Rock Music
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“The intense singing was commonly accompanied by the strum of guitars. 1900. . describes what he saw in a letter he wrote to Ellen White. an Adventist church leader and author. .”47 Indiana Adventist Campmeeting. where a dozen or more people would gather around and shout ‘Glory to God’ while others prayed and sang. .”49 Ella Robinson. After half an hour of this. were all used to generate emotional excitement rather than intellectual comprehension. or to fall in a dead trance. . . They have an organ. . three fiddles. was not foreign to early Adventism. but I never saw anything like this. possibly more. to cause an immediate emotional “high” experience of God. became apparent. The music began at the high point of the service. elbows in a folding chair.”50
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. Tennessee. and a big bass drum. Also the instrument strummers. dropped out one by one. as a rhythmic. When they get on a high key. to jerk. I never saw such a confusion in my life. The use of loud. two flutes. three tambourines. unless it be shrieks by those who are half insane. tom-tom-like noise for inducing the desired ecstacy. while the exhorters clapped hands to the time of the music. . on September 25. Mourners in ever-increasing numbers fell on their knees. The bass drum and the tambourines aided in this. and almost terrifying rhythmic noise. because of the music that is brought to play in the ceremony. a specialist on North American folk hymnody. you cannot hear a word from the congregation in their singing. and the blare of brass as new converts brought their instruments from now-forsaken dance bands into the house of worship. offers us a similar description of such religious gatherings: “They were led to seek an experience of physical demonstration. . There is a great power that goes with the movement that is on foot there . on September 13-23. provides a colorful eyewitness account of how music functioned in the service of a Church of God in Cleveland. the singing came to an end. others to speak in the unknown tongue. Indiana. to carry on the steady. . and perhaps other instruments which I have not mentioned . in 1929.” “Then the songs’ function. Jackson. the rhythmic beat of tambourines and drums. known as “the altar service. For from that time on there was no let-up.46 George P.

rhythmic music by some
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. S. sanctifying truth for this time. Satan will make music a snare by the way it is conducted.”53 Ragtime Music.The Worldview of Rock Music
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It is noteworthy that the bedlam of noise of the Indiana Campmeeting and similar religious gatherings was inspired by the “Holy Flesh Doctrine. rhythmic music played at their religious gatherings was designed to facilitate this physical experience of the divine transforming power. It should be noted that loud instrumental. seems to have influenced the adoption of loud. This development is not surprising. . published The Maple Leaf Rag. Rag music. . Donnell. . rhythmic music at the turn of the century by Pentecostal and some Adventist churches concides with the time when “ragtime music” was sweeping across America and Europe. Those things which have been in the past will be in the future. sincere.”52 Ellen White’s warning had its intended effect. rocky music has begun making its appearance again at Adventist youth rallies and in an increasing number of churches. since with prophetic insight Ellen White predicted at the turn of the century that “Those things which have been in the past will be in the future.51 According to their teachings. R. Ellen White took a strong stand against the “Holy Flesh Doctrine” and the music used to promote it. which is the forerunner of the blues and of rock music. in such a bedlam of noise. In many ways the “Holy Flesh Doctrine” represents another example of the “God within us” conception of the Divine that we have traced historically and of the attempt to experience God’s power through loud and rhythmic music. It is noteworthy that the acceptance of loud. She wrote: “The Holy Spirit never reveals itself in such methods. including its president. .” which was widely accepted by the Indiana Conference workers. syncopated. Satan will make music a snare by the way it is conducted. a Black man known as the King of Rag Music. It is only in recent times that loud. Better never have the worship of God blended with music than to use musical instruments to do the work which last January was represented to me would be brought into our campmeetings. People soon learned to dance to the syncopated beat of rag music. . ennobling. Loud and rhythmic instrumental music was discontinued in Adventist churches. which was popularized by white band leader William Krell and others. . Christians can receive an incorruptible flesh now and be alive when Jesus returned. elevating. On August 1899 Scott Joplin. A bedlam of noise shocks the senses and perverts that which if conducted aright might be a blessing. This is an invention of Satan to cover up his ingenious methods for making of none effect the pure.

that all too often. Chapters 6 and 7 examine more closely how our theology must inform our religious experience. Both of these developments. and to “God within us” perception from the seventeenth-century to our times. have facilitated the adoption of rock music in the secular and Christian world. The shift from a predominantly transcendent view of “God beyond us” to an unmistakably immanent conception of “God within us” has encouraged the production of music which has gradually become more self-centered and less God-centered. African Roots of Rock Music. From God-centered to Self-centered Music. especially during the past two centuries. and in many Christian churches. History is repeating itself. The first is the pantheistic/ immanent orientation of the African music which is the root of rock music. and to today’s “Christian” rock.” must be seen as the natural outcome of the gradual evolution in the understanding of God during Christian history. which causes people to seek an immediate emotional experience of God through the stimulus of rhythmic. including the melody and rhythm of our music. as a means to induce an emotional “high. In Scripture.The Worldview of Rock Music
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Christian churches at the turn of the century. loud music. as we shall see. beyond us and within us. in the same way that rock music is influencing some Christian churches today. God has revealed Himself as being both transcendent and immanent. The historical evolution we have briefly traced from the transcendental understanding of “God beyond us” during the medieval period. The popular attraction of “Christian” rock music today. The use of music to induce an ecstatic spiritual “high” is a manifestation of a strong immanental “God within us” conception. The second is the influence of humanistic ideas which have shaped much of Western thought. The historical evolution of church music traced above teaches us the importance of maintaining a correct understanding of God and His revelation. we need to briefly consider two significant concomitant developments. Chrstian churches have been slow in learning the lesson of history. published by Oxford University Press and entitled The Triumph of
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. To understand why rock music has gained such an immense popularity in our society. In his penetrating analysis of rock music. helps us understand the gradual evolution of church music from the chant to the chorale. These two dimensions of God’s selfrevelation must be kept in proper balance to ensure a healthy religious experience and church music. It is unfortunate. to the immanental conception of “God for us” during the sixteenth century Reformation.

54 The reason for its presence in these cultures is a pantheistic/immanental conception of God—a Being not beyond. devotion to this myth of black origins is to the rocker. This conception is reflected especially in the structural features of the West African possession-trance type of music. as well as “the God within us” orientation of many Christians today. The convergence of these three factors helps us to understand why rock music. . . Pattison explains that the individual in these cultures “lives out a creed that swallows up history. He was born in Alabama and reared among the cotton fields. I could make a million dollars’ . but from its original home in Africa and India. primitive now from which rock traces its descent: Hail. . rock ‘n’ roll.”57 It is unfortunate that Sam Philipps. What belief in the incarnation is to a Christian. Phillips found his white boy in Elvis Presley. He grew up with a passion for the Black music that was an integral part of the agricultural life in the Delta and for the people that made it. Simply stated.The Worldview of Rock Music
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Vulgarity: Rock Music in the Mirror of Romanticism. according to Pattison. . Long live rock ‘n’ roll. Rock is drawn to primitive cultures that promises release from a history that seems to promise the death of the imagination. but within. The beat of the drums loud and bold. .
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. that “the Delta is the root and the Mississipi the stem for the flowering of African music in America. has become the most popular genre of music today. He is the source of the most famous remark ever made about rock. Nineteen-year-old Elvis cut his first professional record for Phillips on July 6. The pantheistic/immanent focus of rock music resembles the thisworldly orientation of our humanistic culture. hail. a date that will live forever as the day on which rock began. made before there was rock: ‘If I could find a white boy who could sing like a nigger. .’ . identifies his own race with an offensive and unnecessary term. . . Robert Pattison points out that rock music draws its inspiration not from the transcendental religions of Confucianism or Islam. His home is the eternal. .”56 “The secret of Philipps’ success was not his devotion to black genius but his appreciation for the white taste. who grasped the market potential of black music. Sam Philipps had the ideal credentials to be instigator of the rock revolution.”55 The African roots of rock music explains why. . Deliver me from days of old. . the individual and the natural world. . 1954. . . both in its secular and “Christian” versions. sang Black guru Chuck Berry in the rock classic ‘School Days.

continuing into the nineteenth century.”61 Afro-Americans responded to this kind of revival music and programs. Why? The answer is to be found in the influence of humanism in Western societies—an ideological moveMain Menu
. screaming.The Worldview of Rock Music
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Afro-American. “that the most prosperous civilization in the history of mankind should in the fulness of its power ascribe its popular music to the influence of an oppressed African minority atrophying among the farmland of its poorest economic sector. and engaging in dance. the performance of hymns and spiritual songs in call-response format or verse-chorus structure where the congregations joined in on familiar choruses or repetitive lines. and the accepted exuberant and excited participation. especially to Methodist. shouting. Revival Music and Afro-American Conversions. Conversions among Afro-Americans increased markedly. Each group experiences through rock music. Further support for the commonality between the African music and the “God within us” orientation of much of Christianity today is provided by recent scholarly studies on the relationship between Christianity and the AfroAmerican experience.”62 Yet it happened. worshippers leaping out of their seats.”59 On a similar vein. notes Pattison. relatively few Afro-Americans were converted to Christianity in North America. Melville Herskovits argues that Afro-Americans were attracted to the revival type of Christianity because “its ritualism most resembled the type of worship known to them. jerking.58 The situation changed dramatically with the advent of revival movements and campmeetings in the latter half of the eighteenth century. the feeling of being plugged in to something greater than themselves. the use of music in creating an emotional atmosphere. Olly Wilson maintains that a significant factor often overlooked is “that several aspects of the common forms of worship used by the Protestant revivalist movement in the United States at that time were consonant with several traditional West African practices. though in different ways. because in many ways they reflected their native African roots and cultural orientation. It is hard to believe. It was out of the same African roots that later rock and roll music was born. falling into convulsions. speaking in tongues. Baptist. and independent denominations. The research indicates that prior to 1740.”60 Some of the common characteristics included “Loud emotional cries and groans throughout the service. humanists. and many Christians have been attracted to rock music because they find in it the medium that helps them to express and experience their similar pantheistic/immanent worldview.

Pantheism rejects the existence of any transcendent being. not beyond them. the worthy and unworthy. . like music. disappear in pantheism’s tolerant and eclectic philosophy. Humanism is an ideological movement that began in the sixteenth century with the cultural rebirth of the Renaissance and has gained increasing momentum until our time. as we shall now see. The humanists largely repudiated the religious.”65 Rock music. the fan transcends the limitation of time and space and plugs into a surrealistic world of fantasy.”63 “Pantheistic ideas have gradually usurped the place of established opinion. Pattison defines Pantheism as “a garbage-pail philosophy. . high and low. according to Pattison. By this admission. promoting instead self-centeredness.The Worldview of Rock Music
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ment which. because secular rock music provides what many describe as “a new kind of religious experience for young people. indiscriminately mixing scraps of everything.”66 Through the ecstasy of rock music. The Influence of Humanism. came to fulfill the religious function vacated by traditional religion. and self-importance. that we live in a universe of sensual experience of which I am the center and infinite circumference. What this means is that pantheists seek to find God. humanism gave rise to such movements as the “Enlightenment.”67 In the next chapter we take a closer look at rock music as a religious phenomenon. a revolution in thought for which there is no precedent. this-worldly orientation of rock music. and consequently found in such music a means to express the humanistic faith. pantheism gains in honesty what it sheds in guilt. identifying the divine with all natural processes. This process was facilitated by the pantheistic orientation of Romanticism. an orientation which prevails today in our society. other-worldly medieval culture. as “a means of approaching the infinite. We could sum up humanism as a shift in focus from divinity to humanity. During the succeeding centuries. Many Christians are attracted to rock music and attempt to sanitize it for church use. Arts. For our
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. shares a similar pantheistic. is the ritual of the pantheistic culture of our time. self-determination. true and false.” which idealized human passions and envisioned a fantasy world which could never be. and “Romanticism. Fine distinctions between right and wrong. Heretical pantheism is the orthodoxy of modern culture. but within them and in the things around them. self-cultivation.”64 “Pantheism acknowledges . self-pleasure.” which emphasized the primacy of human reason.

The output of excessively high volume creates a physiological sensory response which floods one’s sensory modality. and the City of Self. traditional class antagonism. loudness. where “nothing unclean shall enter in it” (Rev 21:27). and potentially infinite. Their theological understanding of God as a universal power present within them and around them. creates the false perception of plugging into the supernatural. These zombies believe in transcendent values. .
CONCLUSION Four major conclusions emerge from the foregoing investigation. of withering selfhood. and ritual dance. predisposes them toward rock music. Christians are susceptible to adopt the self-centered.”69 For the Christian. This is a noncity. a city of negatives. Though it overlaps the City of the World. the production of music in Christian history has been largely influenced by the evolution of the understanding of God. where all forms of evil are welcomed. Alongside the City of the World is the City of Self. . The City of the World is peopled by the zombies who have succumbed to cash. The regularity of the rhythm is enhanced by the overbalance of the bass and percussion.The Worldview of Rock Music
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immediate purpose. Christians run the risk of failing to enter into the City of God. “In rock. and to “God within us” perception from the seventeenth
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. the universe is composed of two cities. By adopting modified versions of rock music. The historical shift from the transcendental understanding of “God beyond us” during the medieval period. The City of Self is peopled by rockers who acknowledge only one vulgar order of primitive feeling. Reiteration of the thematic and verbal material also creates hypnotic effect. First. through its relentless beat. and politics as usual. Evan Davies offers an adequate description of such an experience: “The rockmania behaviors manifest entrancement in the technical sense of being entirely possessed by the experience. creative.” As Pattison explains. the alternative is between the City “whose builder and maker is God” (Heb 11:10). hedonistic worldview of the rock scene and become citizens of the “City of Self. By choosing the music played in the City of Self. Why? Simply because rock. and their eagerness to connect to such a power. to the immanental conception of “God for us” during the sixteenthcentury Reformation. . this City of Self is growing. of stifled creativity.”68 The capacity of rock music to create an hypnotic effect obviously attracts those Christians who are looking for an emotional “high” experience of God within them.

”70 Fourth. rock music provides an attractive medium to approach the infinite through its hypnotic effects. By rejecting the transcendent/immanent God of biblical revelation and promoting instead a pantheistic view of the supernatural that can be experienced through its rhythmic sounds. by shifting the locus of faith from God to self. vulgar pantheism compels the champions of organized religions to abandon their pretension to superior truth and turns them into entrepreneurs of emotional stimulation.”71
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. The use of rock music in worship is dangerous because it turns the church service into a make-believe fantasy world in which self-satisfaction is more important than the adoration of a holy God. the convergence that has occurred in our time among (1) the immanent conception of “God within us” popular among Evangelicals. first. pervasive in our secular society. and (3) the pantheistic/immanent focus of rock music. Since both groups are seeking to fulfill the inner urge for a pleasurable experience of the supernatural. helps us understand the gradual evolution of church music from the medieval chant. of their customers. derived from its African roots. Once God has become a commodity used for selfgratification. Third. (2) the humanistic/pantheistic view of God as a natural process. not the faith.The Worldview of Rock Music
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century to our times. rock music poses an insidious and subtle threat to the Christian faith by shifting the focus of faith from God to self and undermining the Christian claim to divine revelation. rock music is gradually undermining the raison d’être of Christianity. his fortunes depend on the vagaries of the emotional marketplace. to the Lutheran chorale. A suitable closing statement for this chapter is provided by Pattison’s prediction: “In the short run. By forcing churches to compete on the basis of their ability to titillate the instincts of their worshippers. Pattison expresses this threat concisely and eloquently: “Rock knocks the props from under religion. each in its own way has facilitated the acceptance of rock music among Christians and secularly minded people. the worldview of rock music is inimical and antithetical to the Christian faith. rock and religion are complementary and will remain so until pantheism shall have made the traditional denominations as precarious as the passing California cults. and secondly. and his claim to command allegiance on the basis of omnipotence or omniscience vanishes in a blaze of solipsism [self is the only reality] as his priests and shamans pander to the feeling. Second. to today’s “Christian” rock. by depriving sects and churches of their claim to exclusive revelation.

being more interested instead in business and immediate pleasures. selling over a million copies.Chapter 3 ROCK MUSIC FROM A HISTORICAL PERSPECTIVE by Samuele Bacchiocchi
In his best-selling The Closing of the American Mind. show less interest for higher 2 learning. Bloom bases his conclusion on the observation of his students during the past thirty years.” Bloom describes rock music as “junk food for the soul” which gives vent to the “rawest passions” and against which there is “no intellectual resistance. they had a greater interest for higher learning about truth.”1 We could also add that there is no significant resistance against rock music on the part of many Christian churches which have adopted a sanitized version of such music for their worship service and evangelistic outreach. friendship. He notes that in the previous generation. The effect on the brain of prolonged exposure to electrical amplification of rhythmic music is “similar 3 to that of drugs. beauty. and moral development of American young people. etc. It is evident that many people appreciate the insightful analysis Bloom provides on what he calls “the closing of the American mind. who are raised on rock music. Harmonic music appeals more to the mind and makes its listeners more contemplative. The book stayed on the best-seller list of The New York Times for over six months. Classical music. cultural. Rhythmic music appeals more to the emotions and makes its listeners more passionate. University of Chicago Professor Allan Bloom examines some of the factors which in recent years have negatively impacted the intellectual.” In the chapter entitled “Music. a Norwegian musician and author who contributed Chapter -65Main Menu
. the students of this generation. is essentially harmonic. while rock music is rhythmic. according to Bloom. By contrast.” Bloom’s thesis is supported by scientific studies cited by Tore Sognefest. when his students were raised on classical music. justice.

Thus.” In recent years there has been considerable discussion on the revolutionary impact of rock music on the mental. and value systems that are countercultural and anti-Christian? Objective of This Chapter. Bloom said that he agrees with Plato that “music expresses the dark chaotic forces of the soul and the kind of music on which people are raised determines the balance of their souls. The influence of rock music on kids today reasserts a central role of music that had fallen into disuse for almost a hundred years. thrash metal rock. depending on their musical preferences or culture. What is there about rock music that has attracted so many people worldwide and has made it such a revolutionary social phenomenon? Why is it that jazz or the blues. This analysis continues in the following chapter which examines more closely the nature of rock music. and social behavior of people. we have to discuss which passions are aroused. Yet there are still significant questions that remain unanswered. or does it embody certain “religious” beliefs. and 5 the role this plays in the life of society. One study reported by the Scripps Howard News Service states that “exposure to rock music causes abnormal neuron struc4 tures in the region of the brain associated with learning and memory. moral. while the old ones are still acclaimed. New types of rock music are constantly appearing. soul rock. punk rock. almost hypnotic powers. heavy metal rock. The purpose of this survey is not merely to inform the reader about the history of rock music. rave rock.” In an interview. This chapter seeks to answer the above questions by examining the historical and ideological evolution of rock music. folk rock. our concern is to help the reader understand the real nature of rock music by tracing its ideological evolution and by focusing on the values that have emerged during the course of its history. how they are expressed. for example. nothing is immoral about rock music
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. hard rock. Such information is readily available in far more comprehensive studies. A popular assumption is that these various types of rock music are just another musical genre that people may like or dislike. did not have the same revolutionary impact on society? Is rock music just a musical style like many others. and rap rock. disco. funk rock. however. Rather. spiritual. This study shows that rock music has gone through an easily discernible hardening process. Once we recognize this new centrality. psychedelic rock. What began in the fifties as plain rock has gradually become mellow rock.Rock Music from a Historical Perpective
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8 to this symposium.

and lyrics to promote. This conclusion becomes increasingly evident during the course of our historical survey of rock music. melodies. these “fantastic four” young Englishmen played a major role in promoting the use of drugs and the rejection of Christianity. Christians can legitimately use rock music to worship God and proclaim the Gospel. and masochism. The third part looks at music during the seventies. which was adopted in various forms by Negro Spirituals. The second part considers the development of rock music during the sixties. a pantheistic/hedonistic worldview. This study invites readers to take a closer look at the intrinsic nature of rock music. Special consideration is given to the role of Elvis Presley in the promotion of rock music and of its values. The answer to this question becomes self-evident during the course of this investigation as we uncover the ethical and religious values promoted by rock. most people fail to realize that there is more to rock music than meets the eye. So. The findings of this study give us reason to conclude that rock music is not an amoral musical style. we keep in mind that the medium affects the message. violence. sexual perversion. and later by Rock and Roll. an open rejection of the Christian faith and values. but a music of rebellion which defies God. Unfortunately. homosexuality. and promotes all sorts of perverted behavior. satanism. rejects accepted morality. For the sake of clarity this chapter is divided into four parts. Can rock music be legitimately transformed into a fitting medium to worship God and proclaim the Gospel’s message? In answering this question. Through their music.Rock Music from a Historical Perpective
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per se. During this decade several factors contributed to the rise of superstitious and satanic types of rock
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. We pose a probing question at crucial points of our investigation into the historical evolution of rock. Our investigation indicates that rock music is a revolutionary “religious” countercultural and anti-Christian movement which uses its rhythm. The first part traces the roots of rock music to the African rhythmic music. among other things. It is only its improper use that is morally wrong. No other music has ever appeared during the past twenty centuries which so blatantly rejects the moral values and beliefs that Christianity represents. by changing its lyrics. the Rhythm and Blues. occultism. focusing especially on the influence of the Beatles. civil disobedience. These characteristics of rock music become more evident as we trace its historical development and ideological characteristics in this and the following chapters.

and profanity.Rock Music from a Historical Perpective
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music.” The popular acceptance of African rhythmic music has been facilitated by the convergence in our time between the immanent conception of “God within us” prevailing among Evangelicals. human and divine are united within it—and it can happen to anyone. Spurred by the holy drums. The body literally becomes the crossroads. . Jones explains that “He [the African] is intoxicated by this rhythmic harmony or rhythmic
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. Voodoo is not so much Africa in the New World as it is Africa meeting the New World. we noted that rock music draws its inspiration from its original home in Western Africa where religious worship is often a bodily celebration of the supernatural through rhythmic music. vulgarity. The last part focuses on the hardening process of rock music which has occurred since 1980. which promoted various forms of satanic worship and occult activities. During this period new types of rock music appeared which superseded the previous ones in loudness of beat. This alarming aspect of rock music is obviously ignored by those who see nothing wrong in the intrinsic nature of rock music. deep in the meditation of the dance. The information gathered in this historical survey provides the basis for addressing the fundamental probing question of whether or not rock music can legitimately be transformed into a fitting medium to worship God and proclaim the Gospel. these deities that speak through humans are called vodun.’ From their vodun comes our Voodoo. . and the humanistic/pantheistic view of God pervasive in our society. African rhythmic music through its hypnotic rhythm. provides an attractive medium to approach the infinite. . and it is to Voodoos that we must look for the roots of our music. which to the Africans is the spice of life. We noted in Chapter 2 that since both groups are seeking to fulfill their inner urge for a pleasurable experience of the supernatural. and reforming the ancient 6 metaphysics according to what it now had to face. “In Abomey. A unique characteristic of African music is its rhythm. As Michael Ventura points out. English musicologist A. “The metaphysical goal of the African way is to experience the intense meeting of the human world and the spirit world. The word means ‘mysteries. absorbing it and being absorbed by it. Goddesses may enter men. and gods may enter women. Africa. PART I THE BEGINNINGS OF ROCK MUSIC In Chapter 2. one is literally entered by a god or goddess. M.

just as we react to chordal harmony. The theology of the Spirituals may not always be accurate. it was a lonesome. In time. does not represent the original intent of the Voodoo beat. These simple songs deserve our respect because they express the sufferings and oppressions of the American Negro. full of cries and punctuated by a 8 heavy regular beat. or partaking of some pleasurable act (such as fornication). distinguishes rock music from all other forms of music. which impacts directly on the body. but the great faith and trust in God is unmistakable. Its message described man either drowning in his suffering. whether good or evil. his whole body. The sufferer finds the solution and ultimate hope in God. but capable of going either way. The roots of rock music are generally traced to the Negro Spirituals which developed in the deep South of the United States. The presence of the occult and satanism in some types of rock music discussed later in this chapter. those Blacks who rejected the message of hope of the Negro Spirituals developed another musical form to express their suffering and despair. soul-sad music. Though rhythmic in music. there mutated this earthly. through these actions the ‘blues’ were relieved. the Spirituals always contained a message of hope to be found in God’s deliverance of His people.” The beat is indeed the defining characteristic of rock music. It was played by blacks for the blacks (at that time called Negroes). known as “Rhythm and Blues. The mood of the Blues is one of sadness and despair punctuated by a regular. when he hears the drums. hard-driving style of music. African culture sees supernatural beings as being inherently neither good or evil. And by the 1930s in the fields and shanties of the delta country. to start 7 moving his feet. Hubert Spence observes: “The ‘Blues’ feeling was strongly evident but there was a clear rejection of any solution outside of man. his arms. Cured in misery. This is not necessarily true.Rock Music from a Historical Perpective
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polyphony. Negro Spirituals. A popular assumption is that the music rhythm of the African Voodoo is associated with Devil worship.” became the expression of those who rejected any divine solution to their plight.”
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. We shall see that its unique rhythm. This to him is real music. depending on the skills of those musicians who practice their arts for good or evil. taking his life in the suffering. Their music. which was to communicate with the supernatural. It is this remarkable interplay of main beats that causes him irresistibly. who exchanges tattered clothing for a white robe and delivers from death through a fiery chariot. heavy beat.

Singers like Bill Haley. the designation “Christian rock” sounds strange indeed. since it was marked by guitars. a date which many see as the real birthday of rock music—that is. Bo Diddley. Especially influential was a movie entitled Blackboard Jungle.” Presley established himself as the “King of Rock and Roll. In 1959 a payola scandal caused Freed to resign. and other instruments. He died five years later at the age of fortytwo. which featured a song by Bill Haley and the Comets called “Rock Around the Clock. Freed went on to New York City to play his tunes on WABC. The first recordings were made by Chuck Berry. 1954. Yet. Freed’s popularity was not to last. The broad impact of Presley in shaping the rock movement is concisely stated in the Dictionary of American Pop/Rock: “Presley represented not only a new sound but a new look
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. After World War II. He had been taking kickbacks from the rock singers and groups that he promoted. Freed dubbed the style “rock and roll. The accented beat began to take hold of American youth. The 9 back-beat or syncopation became the dominant characteristic in its rhythm.” This distinguishing characteristic of rock music deserves careful consideration because of its unique impact on the physical aspect of the body. The man who named the rock-and-roll era was its first victim. trumpets. Borrowing a phrase occurring in several Rhythm-andBlues songs. and drums. bass. were played in 1952 by disc jockey Alan Freed on his late afternoon Moondog Matinee radio program in Cleveland.” Rock music in many ways was similar to what was popular before. one of the largest radio stations at that time. as they were then known in the recording industry. We examine the rhythm of rock music in Chapter 4. The scandals which rocked the rock music did not diminish any interest for it. pianos. drunk and broke.” This phrase was used in the ghetto as an euphemism for promiscuous sexual intercourse engaged in the back seat of a car. as Hubert Spence explains.” The real breakthrough came when nineteen-year-old Elvis Presley began singing the “race” songs in the Black style. the beat of the Blues became intensified with electric guitars. The Influence of Elvis Presley. Presley cut his first professional record for Sam Philipps on July 6. “the sound was quite different: a constant drum beat permeated the music which made it very conducive to dancing. and John Lee Hooker. and Buddy Holly contributed to popularize rock music.Rock Music from a Historical Perpective
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The Birth of Rock Music. In this perspective. After his first hit “Heartbreak Hotel. These “race” records. when rock music began to capture national and international attention. Chuck Berry.

snarlin’ stallion of a singer was changing the way young people looked at life. All that mattered was looking. Rock and roll was born when Presley recorded Rhythm and Blues songs as a white country boy sounding like a Black Gospel singer. His Graceland estate has become a multimillion-dollar industry and a virtual shrine for the pilgrimage of many Elvis worshippers. and newspaper editors took notice and began preaching against the rebelliousness 11 that Presley symbolized. new sensibility (the sneer). He died in August 1977. acting. where he studied the responses of the people to rhythmic music. Presley had Gospel quartets backing up his music. “The older generation woke up. and new dances. Presley was steeped in the Gospel style of singing. Tennessee. and being like Elvis. new dress (blue suede shoes). He unsuccessfully auditioned to join the Blackwood Gospel Quartet. This snortin’. Apparently a combination of prescription drugs combined with a crash diet placed a high strain on his heart. and church had lost meaning.Rock Music from a Historical Perpective
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(sideburns and ducktail haircut). He spent hours reading the Bible aloud and forced the visitors to the converted church building in Graceland to sit and listen to his readings. Throughout his career. His death became for his fans his apotheosis. new speech (‘all shook up’). His hysterical acceptance was the expression of a young generation in conflict with and in rebellion against the older 10 generation. Hubert Spence perceptively asks: “Dare we state that the
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. Every girl wanted Elvis for a boyfriend and lover. Presley’s interest in Gospel music suggests the possible influence of the latter in the production of his rock music. family.” Unfortunately. The movement style he adopted onstage was reminiscent of the movements used by Black preachers of the Pentecostal churches he attended. This important “religious” dimension of rock music is examined in Chapter 4. causing a heart attack.” Presley’s stage techniques were strongly visceral in movement and they drew out of his audiences not only adulation but also a salacious response. that is. Presley and the Charismatic Movement. Something had to be done. Suddenly the triumvirate of school. In his younger years Presley attended a Black Baptist church in Memphis (East Trigg). The lawless impact of his music soon became evident in the destructive behavior and riots of his fans during his rock concerts. listening to. the deification of their idol. parents. A paradoxical aspect of Presley’s musical career is his obsession for religious fetishism. new mores (a more sensual approach to love). Pastors. not much could be done because Elvis had set in motion a movement that not even his death could stop.

the commitment of both movements to use the stimulus of loud rhythmic music to induce an ecstatic “spiritual high” suggests also a common origin. Present. Second. First. tangible. This was a union the Devil had been trying to deceptively bring about for many centuries in the church. Truly.” The latter makes the personal and emotional experience of God more important than any intellectual apprehension of God through His revealed Word. including some Adventist churches— comes from the same visceral womb of the rock music movement deserves serious consideration for two reasons. In Chapter 2 we noted that the search for an ecstatic “spiritual high” has been facilitated by the gradual shift in Christian history from a predominantly transcendent view of “God beyond us” to an unmistakably immanent conception of “God within us. we will have occasion to reflect on the extent of the fallout. and Future of Contemporary Christian Music.
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. The fallout from this view of life in the Spirit has been 13 substantial. an award-winning artist and producer of Contemporary Christian Music. acknowledges that the “Charismatic experience has come to be perceived as a more personal.” During the course of this study. let us pose again our probing question: Can rock music. the Charismatic 12 Movement has come from the same visceral womb. we need to remember that the medium affects the message. which traces its roots in Voodoo’s beat as a means to experience direct contact with the spirit world. the flesh and the ‘Spirit’ were made one in man’s thinking. Today. In his book At the Cross Roads: An Insider’s Look at the Past.Rock Music from a Historical Perpective
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birth of today’s rock music was in collaboration with the Neo-Pentecostal fleshly movements? Movements supposedly under the power of the Holy Spirit became wedded to the visceral part of man. the popularity of “Christian” rock in charismatic churches points to a common origin.” The suggestion that the Charismatic Movement—which has its tentacles in practically all denominations. In light of the facts we have just uncovered about the origin of rock music in the sixties. We shall see that the Charismatics’ attempt to experience a direct encounter with God by means of the artificial stimulation provided by the rhythm of “Christian” rock ultimately manipulates God Himself into an object for self-gratification. We read of this dialectical desire in the Corinthian church. be legitimately transformed into a fitting medium to worship God and proclaim the Gospel’s message? In answering this question. and valuable encounter with God than the encounter which comes by reading and meditating over the Spirit-inspired Scriptures. Charlie Peacock.

the “God-is-dead” movement. Their songs had a lock on the charts both in America and England. The Beatles were received overwhelmingly in America. the rise of the hippie movement. The Jesus Music. undersized suits. suspicion of conventional institutions. The Role of the Beatles.” appeared innocuous enough. which at that time was successfully promoted. Many young people who became disenchanted with the drug culture and the political establishment began seeking for something deeper. they did not come across as vulgar and immoral as they had become known in England. political assassinations.” and “I Want to Hold Your Hand. the fear of nuclear war.Rock Music from a Historical Perpective PART 2 ROCK MUSIC IN THE 1960s
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Several factors contributed to the popularization of rock music in the 1960s.” which later became known as Contemporary Christian Music (CCM). He formed the rock band called “People” and recorded his first album Upon This Rock. When they appeared on the Ed Sullivan Show in February 1964. Their songs like “Love Me Do. The seedbed of turbulence of the sixties facilitated the rapid growth of secular rock music on one hand and of the Jesus movement on the other. Parents felt that they could trust them with their daughters for all that they wanted to do was to hold their hands. It became cool for young people to “try Jesus” as previously they had tried drugs. which is considered by many as the first recording of “Christian” rock music. To support the new religious experience. Since they had long abandoned the traditional churches of their parents. They were four young Englishmen in high-heeled boots. and with bowl-shaped haircuts. the Jesus movement introduced the so-called “Jesus Music. All ages opened their
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. The carnage of the Vietmam War. Larry Norman is regarded as one of the first innovators. sixty-eight million people (one of the largest TV audiences in history) tuned in to watch their performance. they began developing their religious study groups. This music was a sanitized version of secular rock to which Christian lyrics were added.” “She Loves You. the violent protests in many college campuses. The so-called Christian rock music was largely inspired by secular rock. and other factors made this a time of great disillusionment among young people. Initially. Norman became controversial among Evangelicals because of his outspoken lyrics which do not speak well for the Christian faith. This was one of the most tempestuous decades in modern American history. especially by the Beatles. The Beatles are considered the major players to hit the rock scene during the sixties. the spread of mindaltering drugs.

” The list included John Lennon.
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. it will vanish and shrink. he stated: “Drugs are the religion of the twenty-first century.” the “in” thing to do. In the summer of 1966. and Jimi Hendrix. Lennon admitted that for a period of three years he was constantly on LSD. We are more popular than Jesus 14 right now. Cat Stevens. John Lennon made his controversial statement: “Christianity will go. Pepper’s Lonely Hearts Club. But before long the Beatles revealed their true colors. Pete Townsend.” From that time on. Jim Morrison. Pursuing religion without 16 drugs is like studying astronomy with the naked eye. Songs like Lucy in the Sky of Diamonds. unsure at first whether 15 they’d see God or whether they were god. Hungry for Heaven: Rock and Roll Search for Redemption. and LSD were “cool.” Leary interpreted the effects of LSD on himself as the “deepest religious experience” of his life and founded the League of Spiritual Discovery. Donovan. I am right and we will be proved right. the Beatles became heavily involved in drugs and Eastern transcendentalism. Suddenly marijuana. By the end of 1967. speed.” The association between rock music and the drug culture was influenced especially by Harvard University Professor Timothy Leary. Brian Jones. commonly referred to as “acid. Mick Jagger. fun-loving rock group. Brian Wilson. could best be listened to if a person was “zonked. Out of these recording sessions came the album called Sgt. which made manifest the Beatles’ commitment to drugs.” Tripping on LSD became the passage way to the rock scene. author of The Psychedelic Reader and The Psychedelic Experience.Rock Music from a Historical Perpective
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hearts to the fabulous four who seemed to be an innocent. and Cream resonated with LSD consciousness. Steve Turner writes: “This [LSD] was the Damascus Road tablet. The Grateful Dead. most rock musicians were on LSD. Steve Winwood. Paul McCartney. and emerged with their egos ripped and mauled. People started out on trips as hard-nosed materialists after a bit of fun. He was a close friend of the Beatles whom he called “The Four Evangelists. Keith Richards.” At a convention of psychologists in Philadelphia. The Beatles often would spend a whole night under the influence of drugs during their recording session. I need not argue about that. He believed that LSD could lead people to the utopia for which they were looking. The music of Jimi Hendrix. In his history of rock music. George Harrison. Eric Clapton. allegedly an acronym for LSD. which campaigned for the legal use of LSD as the “sacramental catalyst to the new consciousness.” The impact on the American public was astonishing.

Their “conversion. but they’re so anti-Christ they shock me. or even the Beatles. magic. and that’s reality. and they’ve taken over the world.” Their official press officer. instead.Rock Music from a Historical Perpective
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For some rock groups. that the whole world is a massive.” It was “disarranging minds by hauling demons 17 and monsters from what appeared to be the depths of the sub-conscious. but at the Ganges river. you just 19 have to carry on. Christianity. “In the song ‘I Found Out. They’re completely anti-Christ. which isn’t 20 an easy thing. Jesus. ‘And so dear friends. Buddism. openly attacking Christ. took place not on Damascus road.’ Lennon declared that he did not believe in the Bible. another member of the Beatles. Derek Taylor said: “It’s incredible! Here are four boys from Liverpool. There they discovered that LSD allegedly reveals a truth hidden to people. Yoga. and New Age were in. I mean.’ In the closing lyrics of the song ‘God.’ the lyrics are very bold: ‘There ain’t no Jesus gonna come from the sky. publicly announced in 1965: “None of us believes in God. ‘God is merely a concept by which we measure our pain.” however. pantheistic religions like Hinduism. LSD became more than a trip to a vague “psychedelic experience.’” It is evident that for Lennon Christianity is only a fanciful dream which offers no hope for the future. they behaved as if they had some sort of “conversion” experience.” Drugs and rhythm became a staple of the rock movement because they both function as stimulants to experience a “spiritual high. they’re profane. When they returned from India in 1965. This meant that monotheistic religions such as Christianity. The theological views of the Beatles became clearer during the last five years of their writing (1965-1970). They’re rude. Yoko [his wife] and me. In the same song he declares. and Islam were out. I am anti-Christ as well. Paul McCartney. heavenly divinity and we are all potentially divine. they’re vulgar. At times Lennon was brutally blasphemous. He felt his “guitar apparently 18 resonating with the spirit world. namely. Buddha.’ Throughout the song Lennon states that he has seen through religion ‘from Jesus to Paul’ and that religion was simply a form of drug.”
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. ‘I just believe in me. Now that I found out I know I can cry. Judaism.” Rejection of Christianity. the dream is over.” Eric Clapton recalls an hallucinating experience in San Francisco while playing on stage with the group Cream. It’s as if they’d founded a new religion.’ he instructed his millions of listeners. and the clergy. The truth is that his songs have no message of hope—only an invitation to experience the fleeting pleasures of the moment.’ “In another song ‘God.

The death of Jimi Hendrix on September 17. known as Acid or Psychedelic Rock. Drugs and alcohol largely account for the deaths of such famous rock stars as Elvis Presley. mystical surrealism. Their music and lyrics promoted philosophies characterized by atheism. 1970. and their abusive treatment of women. hypnotic beat of rock music. Keith Moon. The cult of rock heroes is a significant aspect of the rock scene to be considered in Chapter 4. the drug scene and the hippies influenced the driving. This disillusionment may have contributed to the obsession with Satanism which became characteristic of the 1970s. the founder of the Spiritual Regeneration Movement.Rock Music from a Historical Perpective
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When the rock people turned their back against Christianity. It involved a drug culture. Lennon became for the rock fans a superhuman icon.” The rock group The Who. the death of Jimi was like the
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. Jimi Hendrix. Bob Marley. The idea of this music was to recreate the illusion of the LSD (lysergic acid diethylamine) drug “trip” by means of music and the use of lights. began hitting the airwaves by 1967. and it was used both to induce the “psychedelic trip” and to enhance such an experience for those taking drugs. enabling them to experience a “god-consciousness. The fabulous wealth of the gurus. Sid Vicious. instant gratification. used their music as an allegorical description of a journey from spiritual darkness to “godrealization.” As in the case of Elvis Presley. especially those of the guru Maharishi Mahesh Yogi. Jim Morrison. an antiAmerica. It involved recognizing that Lennon was 21 more than a musician. It is impossible to estimate the impact of the Beatles’ music on western civilization. and others. rhythmic music releases souls trapped in the world of delusion. an anti-God theme. Acid rock was slower and more languid than hard rock. In Hindu teaching. rebellion. A new form of rock music. all revealed that they were less than gods. who adopted Hindu teachings. pro-revolution stand. The phenomenon of the drug craze gained momentum in the latter part of the sixties and has continued to our times. An article in Time magazine rightly points out that there is more to the Beatles’ music than meets the eyes: “The battle lines involved much more than their music. From 1966 to 1970. a demigod. nihilism. the number of Rolls Royces. caused a worldwide outpouring of grief.” The attraction of the Indian gurus did not last long for rock musicians. Drug Craze and Acid Rock. and a life built on the ups and downs of drug culture. John Bonham. The drug culture of the rock music of the time took its toll on victims. For some rock fans. Bon Scott. Janis Joplin. they swallowed Hindu teachings.

he stayed in the flat of a German girl. glorified sexual perversion. Hendrix would smash his guitar and amplifier. The seeds sowed in the sixties bore fruit in the seventies. drugs became the means of bringing the rock culture into the realm of religion. suffocated in his own vomit from a drug overdose. let us pose again our probing question: Can rock music. pluck the strings with his teeth. To gain the attention of the crowd. but through the Rock of Ages who invites us to come to Him and find rest in Him (Matt 11:28). In the light of the facts we have just uncovered about rock music in the sixties. Hendrix would raise his guitar to his mouth. 1970. and promoted drugs which claimed the lives of some of its heroes. and speakers. and drugs. dynamic.Rock Music from a Historical Perpective
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death of Jesus Himself. dousing them with lighter fluid. He had just performed at a huge Isle of Wight concert in Great Britain.
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. guitars. He was regarded as the most influential.m. The wealth and fame heaped upon the superstars of the rock culture do not provide inner peace and purpose in life. be legitimately transformed into a fitting medium to worship God and proclaim the Gospel’s message? In answering this question. Monika. The drugs that he glorified eventually took his life. which in the sixties rejected Christianity. when they went to bed together.” He was arrested on narcotics charges on numerous occasions. Unfortunately. it was a godless religion. At 10:20 a. He would pantomime an act of copulation by using the guitar as his sexual partner. If the medium is associated with the rejection of Christianity. as satanic music was produced by numerous rock musicians. Hendrix was especially known for his drug-oriented lifestyle expressed in such songs as “Purple Haze. They smoked grass together until 3:00 a. because Hendrix would destroy at least two speakers at every show. His stage manager carried spare amplifiers. it is important to remember that the medium affects the message.. dominated by the Prince of Evil. Inner peace and harmony are to be found not through magic drugs or exciting rock music. At the height of the performance. On the night of September 17. sexual perversion. and then sensually fondle the guitar. it cannot be legitimately used to communicate the moral claims of the Gospel. During this era. The lesson from the death of rock stars such as Presley and Hendrix is plain. Amidst the smoke and flames he would walk off the stage. and musically competent player of the time. Monika found Henrix face down. The use of rock music and drugs was for Hendrix a kind of spiritual experience—a way to plug into a fake spiritual world.m.

Other songs included ‘The Wizard’ by Black Sabbath and ‘Rhiannon’ by Fleetwood Mac (dedicated to a Welsh witch of the same name). yea. pouring rain. Other songs deal with human sacrifice. “The devil still cheats and wins more souls.” includes the Christian cross and the satanic symbol of the inverted cross. all of which are centered in the occult. I’ve got my bell. I’m on a highway to hell. . You’ve Got22 It was It. ‘Dancing with Mr. The Decade of Satanic Music.” Another AC/CD singer. provides an informative list of the groups and titles of songs that came out during the 1970s and early 1980s with clear references to Hell and Satan.’ Lucifer himself speaks and requests ‘courtesy’ and ‘sympathy’ from all who meet him. and the use of drugs to induce a “psychedelic experience” each in its own way contributed to the rise of a superstitious and satanic music which dominated the 1970s and has continued to our times. wizards. I take no prisoners.”
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. nobody’s putting up a fight. won’t spare no lives. my lightning’s flashing across the sky. hell’s bells. he’s just doing his best.” saying: “I am a rolling thunder. Professor and President of the Foundations Schools. there were ‘Go to Hell’ by Alice Cooper.” Chris De Burg mixes blasphemy with occultism in his songs. ‘Good Day in Hell’ by the Eagles. the disillusionment of Hindu teachings. . Brian Johnson of AC/DC sings of Satan’s pitiless killing of people in the song “Hell’s Bells. “Spanish Train” ends with the words. or the Devil: ‘Their Satanic Majesty’s Request’.’ again seen in Black Sabbath’s song. yeah. Other song titles indicate a theme of witches. D’. ‘Highway to Hell’ by AC/DC. ‘Sympathy for the Devil’—all by the Rolling Stones. I’m on my way to the Promise land. Satan look at me. Bon Scott.Rock Music from a Historical Perpective PART 3 ROCK MUSIC IN THE 1970s
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The open rejection of Christianity. Hubert Spence.’” Some of the rock music is directly addressed to Satan. . I am coming like a hurricane. and sorcerers. Hell’s bells. His song. ‘Hell Ain’t a Bad Place to Be’. sings about Satan in the hit “Highway to Hell. In his book Confronting Contemporary Christian Music. The cover of his album “Chris De Burgh Live S. Some song titles concerned Satan. well. ‘Sympathy for the Devil. A. He writes: “First in the titles. Satan will get you. Lucifer. such as the one by AC/DC entitled ‘If You Want Blood. gonna take you to hell. you’re only young but you’re gonna die. As for the Lord.” The song “Bohemian Rhapsody” recorded by the homosexual group “Queen” has a line which says: “Beelzebub has a devil set aside for me. Bloody Sabbath. In this last song. ‘Sabbath.” saying: “Hey.. I’m gonna get you.

” The name of the group “Black Sabbath” refers to an occultic ritual which they have been known to introduce at some of their concerts. “The Number of the Beast. and “Homocide” by the Group 999 (the inverted 666). I love to see them die. on many occasions. Crush them under my car. the group “Fleetwood Mac” had a hit called “Rhiannon.” with the cover showing a nude satanic ritual emblazoned with the number of the antichrist.Rock Music from a Historical Perpective
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Iron Maiden has come under fire for making more satanic music than almost any other band.” The opening track of “Moonchild” is supposed to be sung by the devil. played on occult association.” pictured a witch on the cover.” The same theme is found in the songs
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. I kill children and make their mamas cry. Their first album. Satanic Influence.’ They even took on the person of Lucifer and. Rock historian Steve Turner describes this period.” which is advertized as being forged in the fires of hell. I want to hear them scream.” Sun worship is present in such songs like “Light the Sky on Fire” by the Jefferson Starship.” Part of the lyrics say: “God told me to skin you alive. Their albums include “We Sold Our Souls for Rock and Roll. the song “Don’t Fear the Reaper” was sung by Blue Oyster Cult. “Black Sabbath. Stevie Nicks.” Their satanic leanings are evident in the closing lyrics of the song “Hail. a punk rock band. the Rolling Stones invoked the devil. great shadow of demon. recorded a song called “I Kill Children. to spoil their Halloween. The Satanic influence of rock music can be seen also in those songs which encouraged suicide. sometimes dedicated sons in a concert to “all the witches of the world. 666. by saying: “Like no rock group before them. For example. On a TV special Jagger ripped off his black shirt to reveal a tattoo 23 of the devil on his chest. I kill children.” which is dedicated to a Welsh witch. entitling an album ‘Their Satanic Majesty’s Request.” with the cover featuring the satanic “S” and “Sabbath. As mentioned above. The Dead Kennedys. The album. includes a song called “666. A song called “God the Sun” was sung by the group America. Other songs promote the abuse or even the murdering of children. feed them poison candy. “Why Don’t You Die Young and Stay Pretty” by Blondie. great shadow of dragon. Most of his lyrics are obsessed with hellish imagery. Bloody Sabbath.” and Gary Wright’s song “Dream Weaver. the lead singer.” The rock music of this period that dealt also with occultic activities included conscious life after death in the Jefferson Starship’s song “Your Mind Has Left Your Body.

a five-pointed star-shaped figure symbolizing Satan worship.” produced by Black Sabbath. Other symbols include the serpent. the Egyptian pyramid. Only a few are mentioned here. It has also appeared on the cover of a Duran Duran album. Festival. The satanic symbol “Winged Globes.” in which a haunting melody openly and graphically speaks of engaging in sex with a dead body. Another album.” The “S” printed like a jagged lightning bolt appears in the name of the rock group KISS and repeatedly on the album “We Sold our Soul to Rock ‘n’ Roll. Another satanic symbol is the pentagram.” which consists of a solar disk.Rock Music from a Historical Perpective
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“Children of the Grave” by Black Sabbath and “Hell Is for Children” by Pat Benatar. And even Alice Cooper’s song ‘Cold Ethyl’ 24 promoted necrophilia or cohabitation with a corpse kept in the freezer. This symbol is derived from Luke 10:18. which says: “I saw Satan like lightning fall from heaven. As the Cross and water serve as symbols of Christianity. features a Hindu idol on the cover with two serpents on either side of the idol. A perusal of all the Satanic symbols would take us 25 beyond the limited scope of this chapter. is used by such rock groups as Aerosmith. Journey. the skull. The rock group Rush uses this symbol extensively on their album covers. Terry Gibb’s 1980 hit ‘Somebody’s Knocking’ promoted homosexual relationships with demons. the goat’s head. Satanic Symbols. REO Speedwagon. One of the prominent satanic symbols used by rock groups is the “S” depicted as a jagged lightening bolt. The rock group Santana has an album Abraxas which is named after a powerful witchcraft demon.
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. and the hexagram. It is used as a background to some of the performances of Madonna and was a feature of the Rolling Stones’ 1981 world tour. so Satan’s worshippers have developed their own symbols which some rock stars use especially on the jacket of their albums. and New Riders of the Purple Sage. The deep involvement of some rock stars in the occult and Satanic worship is reflected in their use of satanic symbols. Perhaps one of the most disgusting satanic themes to be found in the rock music of this period is the idea of having sex with demons. David Bowie is pictured on one of his album covers with the same jagged “S” painted on his face. “Many believed that a demon in female form had the powers of sexual union with men in their sleep. The 1978 hit ‘Undercover Angel’ dealt with this belief. The two serpents represent the duality of good and evil that can live in harmony with each other.” Alice Cooper also sang a song called “I Love the Dead. An inverted cross has been a symbol of satanism through the centuries.

’” The latter is a traditional Sicilian sign consisting of the forefinger and the little finger extended. While they sang ‘Sympathy for the Devil. The day the music died.’ Ozzie Osborne. pyramids. a five-pointed 26 star in a circle.’ In the song he depicts the hideous scene of that concert: ‘As I watched him [Mick Jaggar] on the stage. at the Riverfront Coliseum. goats’ heads.” Satanic Involvement. formerly of Black Sabbath. Such actions inspired Don McLean to write his rock hit ‘American Pie. Some of them have expressed openly in interviews their involvement in occult activities.’ David Bowie. palmistry signs of the Zodiac. to start the sacrificial rite. Sybil Leek. The satanic symbols used by rock stars are reflective of their involvement in the occult and satanic worship. and then to demonstrate that they have made a pact with the devil they place occultic symbols on their record sleeves. In 1979 they presented a concert in Cincinnati. my hands were clenched in fists of rage. The sign is used by black arts practitioners to ward off “the evil eye.” The Beatles appear to have been the first band to use this sign on the cover of their album “Yellow Submarine.’ The lead singer for Queen. claims that “Many rock musicians cast spells and incancations upon their music. I think I may go mad in several years time. And as the flames climbed high into the night. who had drawings of pentagrams on his walls. the extended tongue. No angel born in hell could break that Satan spell. California.Rock Music from a Historical Perpective
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In her book Numerology. the satanic ass. ‘I’ve always been fascinated by the supernatural and always felt rock was the perfect medium for it. I get possessed. upside down crosses. What was the response of Townshend. ‘I know that there is some supernatural force using me to bring forth 27 my rock and roll.’” “The Rolling Stones outdid themselves in one concert years ago at Altamont. I saw 28 Satan laughing with delight. Jim Steinman said. Hubert Spence reports some examples: “The lead singer for Meat Loaf stated: ‘When I go on stage. tarot card characters. Ohio.’ Their composer. said. and the ‘Il Cornuto. eleven people were trampled to death by the crowd fighting to get inside. while the other fingers are curled into a fist. Freddie Mercury. is a professing devil worshipper. the band leader.’” Another example of the total disrespect for human life is provided by the rock group The Who.’ several members of Hell’s Angels (a gang hired to be security force for the Stones) went to the front of the stage and beat a young black boy to death in front of thousands of screaming fans. He said. one of Britain’s best-known witches. ‘Rock has always been the Devil’s music because it lets in the baser elements. said. Such symbols include crystal balls. to these tragic deaths? Plain
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. ‘On the stage I am a devil. At the opening of that concert. 2/4.

the more albums were sold. Jeff Godwin gives startling evidence on a number of popular rock musicians who have studied the ancient beat of satanic worship. the rock scene of the 1970s is truly a moral and social wasteland which defies description. and we will be worshipped. he said: “We’re a Rock and Roll band. Satan knows that rock music is a most effective device that he can use effectively to lead millions to worship him rather than God.Rock Music from a Historical Perpective
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cynicism. as Jesus said. The presence of satanic influence in the rhythm and messages of many rock songs reminds us of Satan’s objective to promote not only sin and confusion but also the worship of himself. drugs. . In his book Dancing with Demons. Speaking of the last phase he says: “Now we discovered the best motivation there is to buy a product. These rockers include Brian Jones (Rolling Stones). Summing up. In an interview published by The Rolling Stone magazine. and covenant with Satan. We are going to make intimate acquaintan31 ces and covenants with Satan . He wants worship. The manager of one of the biggest rock bands explains that rock has gone through four phases: sex. violence. pull out his life.
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.” The popularity of such outrageous rock music which blatantly promotes murder. It seems that the more depraved were the lyrics. and it is still true today. 30 John Phillips (The Mamas and the Papas). we don’t ___ around. The best motivation in the world is religious commitment. it was true when he tempted Christ by offering Him all the kingdoms of the world in exchange for worship (Matt 4:8-9). who. You know.” The statement is frightening because it speaks of deliberate association with Satan. . and Paul McCartney (The Beatles).” Such callous indifference toward the loss of eleven human lives can only be inspired by Satan himself. in goes my knife. Motley Crue sold two million copies of “Shout to the Devil” which says: “Out go the lights. worrying 29 about eleven people dying. consider the bastard dead. This was true before he was cast out of heaven (Is14:12-16). These men have studied with satanic masters in order to learn how to use effectively the hypnotic power of the rock beat in their songs. and this is exactly what he is receiving through the medium of rock music. so we decided that in the nineteen-eighties we are going to have religious services in our concerts. No human being ever makes a deeper commitment than a religious commitment. and satanic worship provides one of the most compelling evidences of the sacrilegious and depraved nature of rock music. “was a murderer from the beginning” (John 8:44). punk rock. We are going to pronounce ourselves as Messiah.

We shall now see that this hardening process continues through the eighties to our time. The 1980s brought sexuality and satanism to a new high in performances by The Sex Pistols and Madonna. and glorification of Satan be transformed into a fitting medium to worship God and proclaim the Gospel? In answering this question. sex. thrash metal rock. let us pose again our probing question: Can rock music. lesbianism. loudness. New types of rock music are constantly appearing.” “Rock and Roll will never die. mind-bursting loud noises with no obvious lyrics but. Their music extolled homosexuality. Hard Rock. and satanism.” its devotees say. vulgarity. violence. Rock music is addictive like drugs. to name a few. heavy metal rock.32 according to some sources. The Sex Pistols is one of the basest rock bands for immorality of lyrics.
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. drugs. They were catapulted into the rock limelight by the production of their song “Anarchy in the U. transvestism. and profanity.” They were banned from Britain. and those addicted to it are constantly seeking for stronger types of rock music in order to satisfy their craving. David Marshall notes: “Rock. sodomy. PART 4 ROCK MUSIC SINCE THE 1980s In tracing the history of rock music from its origin through the seventies. and stage performance. bestiality. drugs. Kerrang. They are right. it is important to remember that the medium affects the message. and rap rock. it cannot be used legitimately to communicate the moral claims of the Gospel. the current rock music fads will be superseded by new types of rock music which will be more outrageous in glorifying sexual perversion. punk rock. and Rave are just wild. and occultic practices. rejection of accepted moral values. masochism. let us briefly look at some of the most significant developments in the rock scene since the 1980s. But if the past is any guide. containing subliminal messages here and there. Thrash Metal. and Heavy Metal contain lyrics. which promotes defiance against God. superseding the previous ones in beat. The Sex Pistols.Rock Music from a Historical Perpective
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In light of the facts we have just uncovered about the rock music of the seventies. With this in mind. If the medium is associated with the rejection of the Christian faith. music. The reason is not difficult to find. K. What began in the fifties as plain rock gradually became hard rock. and other forms of perversion. iterative. we have already detected an easily discernible hardening process.

” she wore a brass-spiked bra at her concerts. . Chic-influenced sound against a deadpan display of black-tie preening as practiced in gay clubs. But it is not a hedonism anchored in ‘secular humanism’ or 34 secularism. She was raised in a middle-class. wham out the hardest and cruelest lyrics and propaganda. For example. Michigan. After all. In others she uses the inverted cross. You’re selling an attitude too. better known by her assumed name of Madonna. By assuming a name that represents virginity and purity to promote her immoral sexual antics. states their philosophy: “Rock and Roll is not just music. her video ‘Vogue’ sets a spare. a television and art critic.
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. The only things left is hedonism. Her most convincing work. celebrates gay male life-style at its most hedonistic. Madonna uses a cross as a background for her sexual posing.” A music that sells an attitude of open defiance against all accepted moral values should have no place in the Christian life and worship. The Loss of Beauty and Meaning in American Popular Music. The kids need a sense of adventure and Rock and Roll needs to find a way to 33 give it to them. John Whitehead states: “Madonna is trying to provoke us to re-examine the traditional definition of what is permissible and what is or not pornographic or erotic. In some performances. . Italian-American family in Bay City. When she sang her unbecoming songs. . for Catholics the Madonna represents the virginity and purity of Jesus’ mother. the founder of this rock group. flaunting her sexuality and taunting the crowd with a smooth come-on. Madonna: The “PR” of Sexuality. which historically has been a symbol of satanism.” The song insults Queen Elizabeth as a nonhuman being at the very time of her Silver Jubilee anniversary celebration. Next to Michael Jackson. the most popular product of the rock culture of our times is undoubtedly Louise Ciccone. Martha Bayles. it is incredible that she would take on the name of “Madonna” to parade her sexuality.Rock Music from a Historical Perpective
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An indication of their depravity can be found in their album “God Save the Queen. Madonna revealed her determination to profane sacred symbols through her rock songs. notes that “Madonna is most at home in decadence.” In her book Hole in Our Soul. in terms of form expressing content. She has peddled pornography through the tens of millions of records sold. In view of her Catholic upbringing. such as “Like a Virgin” and “Vogue. She Ain’t No Human Being. A more appropriate biblical name she could have chosen for her seductive appeal is “Jezebel”—the woman who in biblical history became the symbol of seduction (Rev 2:20). In the Rutherford Magazine. Malcolm McLaren. It is a hedonism anchored in a new form of paganism.

” the rock group Venom. ‘Justify My Love’ received a major sales and rental boost after being banned by MTV. like her.” In another album called “Welcome to Hell.” Madonna’s sacrilegious attitude toward Christian symbols is shared by numerous rock musicians who. . The death of You. we believe the glitter and extravaganza of a rock performance are the standard for the serious. And remember. it is important to remember that the medium affects the message. His two albums “Off the Wall” and “Thriller” made him an international celebrity. she36 [Madonna] makes her money at peddling pornography as a cultural event. specifically the horror of living with corpses.” Madonna stands out for her ability to cynically manipulate religious imagery to promote her immoral agenda through her rock songs. saying: “Due to my strong personal convictions. artistic ability. ‘Justify My Love’ and some of the songs on the album Erotica use a whispery vocal and chicken-scratch beat to underline a deliberately vacuous celebration of sadomasochism. who first made a national debut in 1969 as a member of the Jackson Family. and MC 900 FT Jesus. some of which blatantly profanes and blasphemes God and the Christian faith. To pacify the leaders of the Jehovah’s Witness church. honorable culture. to which he belonged at that time.” The audacity of some rock musicians to call even for the death of God is indicative of the depth of their depravity communicated through their rock music. Some of them appeal to the public with such names as Jesus Jones. he placed a disclaimer at the beginning of the video.” which has sold over forty million copies. Hubert Spence writes: “We as a country have gone so long without examples of true. Let us pose again our probing question: Can rock music. and the X-rated book 35 Sex was sold coyly shrink-wrapped in Mylar plastic.Rock Music from a Historical Perpective
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More recently. The 1980s brought to the forefront the grown-up Michael Jackson. The “Thriller. be transformed into a medium to worship God and to proclaim the Gospel’s message? In answering this question. Both the album and the video deal with the occult. Michael Jackson: The Human Deified. says: “We’re possessed by all that is evil. In the album “Born Again” by the rock band Black Sabbath. The immense popularity that she enjoys is a sad commentary on the moral decadence of our society. we demand. . interject religious elements in their names and performances. I wish to stress that this film in no way
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. Faith No More. He stepped out as a single artist in the mid-1970s and was soaring in popularity by the 1980s. . God. reveals Jackson’s fascination with the supernatural and the lurid. one line says: “The only good Christian is a dead Christian.

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endorses a belief in the occult –Michael Jackson.” The disclaimer does not detract from the fact that the album and video do definitely promote the occult. In the videos “Bad” and “Dangerous,” Michael Jackson lives up to the message of the titles. Again Martha Bayles, TV and art critic, notes that “After witnessing these videos, in which Jackson ceaselessly grabs his crotch, smashes car windows, and zips up his fly (in that rather unconvincing order), 37 most people shake their heads and say he’s out of touch.” The truth of the matter is that Jackson is not merely out of touch, but sometimes out of control. The accusations of homosexual relationships with children, his strange marriage to Elvis Presley’s daughter who soon left him, and the child he has fathered with another woman out of wedlock are all indications of his moral decadence. Yet “he has carefully staged himself throughout the world as an icon of deity. His videos regularly display him giving erotic gestures to the camera; his extravagantly rendered stage productions present strong implications of his godhood (manifested in his entrances 38 and exits), lauding him as the savior of the world.” The sad reality is that Jackson desperately needs a Savior to cleanse him from all his sinful living reflected in his rock music. Heavy Metal. The crave for more aggressive, noise-dominated, obscene, violent lyrics has contributed to the rise of harsher types of rock music, such as “Heavy Metal” and “Rap Music.” We take a brief look at each of them here in closing our historical survey of rock music. All observers, friend and foe, agree that Heavy Metal bands not only play one of the most strident forms of rock music but also create for its fans an imaginary world which glamorizes sex, drugs, and violence. Stephen Davis, the biographer of Led Zeppelin, the leading star of Heavy Metal, describes such music as “creating its own private universe for its fans. The 39 music is only part of it. Something else is going on.” The “something else” which goes on at metal rock concerts is mentioned by Tipper Gore, the wife of Vice-President Al Gore. She writes: “In [Metal Rock] concerts, the most strident bands not only play their music at the highest decibel levels, but perform what they describe as ‘vaudeville acts’ that glamorize explicit sex, alcohol and drug use, and bloody violence. 40 Some depict the most extreme antisocial behavior imaginable.” We might say that metal rock bands not only scream, but they also provide reasons for screaming. From its beginning in the seventies, Heavy Metal rock music has become increasingly more loud, vulgar, and sadistic. Martha Bayles deMain Menu

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scribes this trend : “Good old promiscuity went the way of the dodo bird, as ‘speed metal’ and ‘death metal’ groups beefed up their act with bloody sadism. The mid-1980s were the heyday of rock videos depicting female victims chained, caged, beaten, and bound with barbed wire, all to wet the appetites of twelve-and-thirteen-year-olds for on-stage performances such as the famous one in which the group W. A. S. P. sang its hit song, ‘F___ Like a Beast,’ while pretending to batter a woman’s skull and rape her with a chain 41 saw.” “Metal rock stars brag about having intercourse during performances, 42 recording sessions, and video tapings.” Observers of the rock scene note that the young people most deeply involved in heavy metal are angry, troubled adolescents such as dropouts and 43 runaways. “These youngsters display a grotesque combination of vaunting ambition and drooping despair, based on the conviction that the only alterna44 tive to rock stardom is death in the gutter.” Nor do the stars provide much guidance. “They are just as nihilistic as their followers, only instead of getting 45 punished for self-destructive behavior, they get rewarded.” It is hard to believe that even Heavy Metal, known not only for its thundering beat but also for glamorizing sex, drugs, and violence, has been adopted by “Christian” bands to praise God and reach the unsaved. For example, “Christian” heavy metal bands like Stryper have shared the same concert stage with secular bands and have recorded their music on the same secular labels, which are sold in the same retail stores. The four members of Stryper look a lot like the members of the KISS band. They wear tight leather and spandex clothing, use a lot of makeup and chains, and have wild hair. The 46 group wants to be known as “a metal band for Christ.” Again we need to pose our probing question: Can Heavy Metal, which blatantly promotes some of the worse types of violent and destructive behavior, be transformed into a fitting medium to worship God and to proclaim the Gospel’s message? Can the world of Metal Rock be legitimately and effectively infiltrated by sheep in wolves’ clothing? In answering this question, it is important to remember that the medium affects the message. Rap Music. Closely related to Heavy Metal is “Rap Music,” which incorporates many of the sounds and styles of Heavy Metal rock. The term “Rap” refers to rhyming of words chanted or “rapped” according to a heavily rhythmic musical accompaniment known as hip-hop. In other words, Rap music consists of chanted rhyme backed by heavy rhythms. It is seen as part of the Afro-American tradition. It is produced on “a particular part of sound montage: Afro-American speech fitted to Afro-American rhythms, and 47 addressing the problems of growing up black.”
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Rap music is widely denounced by journalists, religious leaders, and Black opinion-makers for its shocking indecency, especially in promoting the abuse and exploitation of women. In his article on “The Corruption of Rock,” British journalist Michael Medved points out that “the worst attitudes toward women are displayed by some of the Rap musicians. In Rap culture, terms like ‘my bitch’ or ‘my whore’ are habitually used to describe girlfriends. One of 48 the worst offenders among the Rap musicians is NWA .” The album in which NWA is most abusive of women is called “Nasty as They Wanna Be.” Its central theme is the mutilation of the genitals of female partners. In Florida a judge ruled this album too obscene for young people. In spite of its abusive and obscene language, the album sold 1.7 million copies. In his article “How Rap’s Hate Lyrics Harm Youngsters,” Bob Demoss analyzes the same album where he found that in less than sixty minutes there were 226 uses of the “F” word, 163 uses of the word “bitch,” 87 descriptions of oral sex, and 117 explicit references to male and female 49 genitalia. Numerous writers and church leaders have strongly condemned the violence promoted by cult rappers through their lyrics. Hubert Spence notes that “Although crime and hate have been an ongoing side effect of the rock music, the Rap sound has mushroomed crime in the areas of the gang concept. Even small towns are now being affected, and Rap stars have become the teachers of these gangs. This type of music is one of the largest reasons for the recent upsurge of racial tension and fear in the streets. Such social fires are being fed by these rhythmic proclaimers of 50 hatred and violence.” The widespread denunciation of Rap music for its shocking indecency by many civil and religious leaders has not prevented Christian bands from adopting such music to praise God and reach the unsaved. Numerous “Christian Rap” bands advertise their services and offer their albums on the web. It is evident that no matter how shocking the new types of rock music are, there are Christians who are prepared to sanitize them by changing the lyrics. CONCLUSION The historical survey conducted in this chapter shows that rock music has undergone an easily discernible hardening process. What began in the fifties as plain rock, gradually became mellow rock, folk rock, soul rock, funk rock, psychedelic rock, disco, hard rock, heavy metal rock, punk rock, thrash metal rock, rave rock, and rap rock. Each new type of rock has proven to be more sexually explicit, violent, and vulgar than the previous ones.
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Al Menconi, well known for his ministry designed to help Christian families evaluate the content of popular music, asks the question: “How did it happen?” His answer: “One song at a time.” To illustrate how much perversion society is willing to accept, “if it comes in small bites,” Menconi gives a sampling of eight rock songs, beginning from the 1964 Beatles’ song “I Wanna Hold Your Hand” to the 1994 Nine Inch Nail’s song “I Wanna F--- You Like an Animal” and the 1998 Janet Jackson’s 51 song “Tonight’s The Night.” The intensification of sexual explicitness and perversion is selfevident in these songs. In their song the Beatles “suggested that physical agressiveness was okay without an emotional commitment.” The Nine Inch Nail’s song is “rape-suggesting and aggressive.” Janet Jackson’s song “was the first popular song about lesbian sex.” Al Menconi concludes: “Any song about any form of perversion 52 [today] considered acceptable. How did it is happen? One song at a time.” The time has now come to answer our introductory probing question which has been repeated several times during the course of our survey: Can rock music be legitimately transformed into a fitting medium to worship God and proclaim the Gospel’s message? By now the answer should be self-evident. The investigation of the worldview of rock music conducted in Chapter 2 and of its historical development in this chapter clearly reveals that any attempt to Christianize secular rock music by changing its lyrics ultimately results in the prostitution of the Christian faith and worship. Four major reasons support this conclusion. (1) Rock Music Distorts the Message of the Bible. Rock music, in whatever forms, distorts the message of the Bible simply because the medium affects the message. The medium used to win the youth determines the nature of the message to which they are won. If the church uses a rock type of music, which is associated with sex, drugs, satanism, violence, and the rejection of the Christian faith, it obviously is not able to challenge the youth to live up to the moral claims of the Gospel. The New Testament summons us to present clearly and compellingly the holiness of God’s character, the desperate human plight, and the amazing grace of the Gospel. These issues of life and death cannot be presented with the frivolity and flippancy of rock music. Listeners to religious rock may never be humbled by the majesty of God, nor be convicted of God’s moral claims upon their lives. The relentless rock rhythm, the movements, the lights, and the demeanor of pop singers
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contain so much that is sensual and sexually suggestive that they hardly can communicate the holiness and purity of the Kingdom of God. If we adopt a worldly appearance to attract the crowd, how can we paint in vivid colors the contrast between the kingdom of this world and the Kingdom of God? Paul recognized that the Gospel cannot be proclaimed through deceptive worldly gimmicks. Thus, he told the Corinthians: “My speech and my message were not in plausible words of wisdom [or we might say “with the exciting sounds of Greek songs”], but in demonstration of the Spirit and of power, that your faith might not rest in the wisdom of men [or we might say “in worldly excitements”], but in the power of God” (1 Cor 2:4-5). The biblical call to “worship the Lord in the beauty of holiness” (Ps 96:9; 29:2; 1 Chron 16:20; 2 Chron 20:21) is compromised “by using combinations of sounds which are violent, mind-numbing, vulgar, raw, mesmerizing, rebellious, grossly repetitive, uncreative, undisciplined, and chaotic sounding. If listeners do not hear these things, it is because rock has 53 dulled their aesthetic sensibilities.” The casual dress and interactive behavior encouraged by the rock music played during the church service creates a social-club atmosphere, thus causing people to forget the solemnity of God’s House. In my itinerant ministry around the world, I have been confronted with rock bands playing in Adventist churches and youth rallies. It is common in such settings for some members to dress casually as if they were attending a rock concert. Moreover, as soon as they hear the beat of the drum they start swinging. In one particular church, the swinging got out of control. The members filed out of the pews and started dancing in the aisles and some even on the platform. Rock music, in whatever form, causes people to believe that the church is a place where they can have fun with God. The purpose of worship in the Bible is not self-centered excitement, but God-centered adoration (Ps 96:2; 57:9; 47:6; Rom 15:9; Acts 16:25). (2) Rock Music Compromises the Church’s Stand for Separation. The Christian mandate is not to conform to the world, but to confront the world with God’s revealed truths (Rom 12:2). Scripture explicitly admonishes us to “take no part in the unfruitful works of darkness, but instead expose them” (Eph 5:11). John admonishes us not to “love the world or the things in the world” (1 John 2:15). Paul understood the fundamental truth that the acceptance of the Gospel entails a separation from the world “by the renewal of your mind” (Rom 12:2). Do the various varieties of religious rock music today invite
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young people to separate from the world through the renewal of their minds? Hardly so. Pop music appeals primarily to the body rather than the mind; it cultivates a taste for secular rock rather than for sacred music. It communicates a message of solidarity with the world rather than separation from it. Larry Norman, a superstar in the CCM scene, acknowledges that “in order to decide whether Christian music has any weakness or strengths you have to decide what its purpose is. If it is for non-Christians—to convince them that Christ is an important alternative to seek in their life—then most Christian music is a failure because it does not convincingly communicate that 54 particular message.” Indeed, the message it communicates is one of conformity to the world rather than separation from it. God’s people have always been separated from the world by refusing to participate in the ungodly practices of the secular society. The early Christians turned the pagan world upside down, as we have seen in Chapter 2, not by sanitizing the pagan forms of entertainment (the circus, theater, music), but by abstaining from them altogether. To preserve our Christian identity, we must understand our culture and refuse to accept what violates the moral principles God has revealed. “If we are blind to the spirit of our age, innocently sopping up the mores and cultural patterns of an unchristian society, our character and witness becomes weakened. Defences break down and before we realize it we are believing, 55 saying, doing, understanding, and acting like the unregenerate.” As Christians we cannot be the “children of the light,” exposing the deeds of darkness, when we conform too closely to the world by adopting a music that embodies the very worldly spirit of rebellion. Such a close identification with the spirit of the world can only leave many confused as to the power of the Gospel to change the old nature into a brand new life. (3) Rock Music Embodies the Spirit of Rebellion. Our historical survey has shown that rock music promotes, among other things, a pantheistic/hedonistic worldview, sexual perversion, civil disobedience, violence, satanism, occultism, homosexuality, masochism, and an open rejection of the Christian faith and values. No other music has appeared during the past twenty centuries which so blatantly rejects all the moral values and beliefs espoused by Christianity. The spirit of rebellion of rock music is acknowledged even by the media. For example, Newsweek writes: “It is not just the earsplitting sound and relentless beat—kids at a heavy-metal concert don’t sit in their seats, they stand on them and move—it is the spirit of rebellion . . . . The
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fans imitate the heavy-metal dress of their idols—sleeveless T-shirts, leather jackets, studded leather wrist bands—and in concert, they will shake their fists 56 unison above their heads as they scream the lyrics along in with the band.” As the embodiment of the spirit of rebellion of our times, rock music can hardly be adopted to express the spirit of Christian commitment to God. As Gary Erickson perceptively observes, “a sheep dressed in wolf’s clothing is a strange way to approach the sinner or57 saint. The whole scenario is the confusing to the world and to the church.” Our Christian commission is to communicate the Gospel not through confusing signals, but through a clear and direct message. Paul states this principle: “Even in the case of lifeless things that make sound, such as the flute or harp, how will anyone know what tune is being played unless there is a distinction in the notes? Again, if the trumpet does not sound a clear call, who will get ready for battle?” (1 Cor 14:7-8; NIV). Rock music, even in its “Christian” version, does not give a clear call to “come out of her, my people, lest you take part in her sins” (Rev 18:4). Young people who watch Christian rock bands performing, whether in an open-air concert or in a youth rally at church, can easily fantasize that they are at a secular rock concert. This is especially true when professional “Christian” rock bands mimic the secular rock scene with long hair, freakish dress, light effects, smoke, incessant drumming, vulgar gesticulations, and shrieking vocal sounds. With so much visual and auditory stimulation coming directly from the rock culture, young people can easily be led to believe that the music of Babylon must not be that bad after all. Ultimately, some are tempted to go back into the music of Babylon, rather than heeding God’s summon to “come out of her my people.” (4) Rock Music Can Alter the Mind. Another important reason why rock music cannot be legitimately Christianized is that its hypnotic beat can alter the mind, weaken moral sensitivity and inhibitions, and cause people to write, see, and do the most hideous things. No other musical genre is known to have the same mind-altering capacities. This point becomes clearer in Chapters 4 and 8 where we examine significant scientific studies on the physiological and psychological effects of rock music. At this juncture, it suffices to cite the testimony of Jimi Hendrix, who is regarded as the best rock guitarist who ever lived. He said: “Music is a spiritual thing of its own. We can hypnotize people with music, and when they
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59 if they are noticed at all. Is 64:12. This word is seldom used today. By the same token. are absorbed after the music has made its mark. to alter the human mind through its hypnotic beat. When we accept God’s call to be a holy people and to come out of Babylon (Rev 18:4).Rock Music from a Historical Perpective
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are at their weakest point we can preach into their subconscience what we want them to say. 58 The music flows from the air. then the rock music of Babylon will no longer be an attraction for us. That is why the name ‘Electric Church’ flashes in and out. Youth. Much of the discussion about rock music focuses today on its effects on humans rather than on its offensiveness to God. of whatever category. Ps 1:1. It is imperative to shift our focus from self to God and to listen to His call to holiness. at least in its harsher forms. perversion. because it is through the mind that we serve God (Rom 12:2) and are renewed into the image of God (Eph 4:23-24. in whatever version. Leisure. and the Politics of Rock ‘n’ Roll. is still rock music—a music that embodies a spirit of rebellion against God and the moral principles He has revealed for our lives. and the occult. 1 John 2:2-6). You don’t listen to loud rock. the rock beat alters the human mind. and that is why I can connect with a spirit. makes the adoption of such music for Christian worship morally wrong. As sociologist Simon Frith points out in his book Sound Effects.” The avalanche of decibels. rock music cannot be legitimately transformed into Christian music simply by changing its lyrics. . 1 Pet 2:9. it baptizes you with 60 a liturgy of sex.
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. Col 3:10). The capacity of rock music. doesn’t tickle your ears. Former rock star Bob Larson explains: “Rock.” To think that one can sanitize rock music just by changing its lyrics is like believing that poison can be made harmless just by administering it with love. Christians must avoid any substance or medium that can alter their minds. Poison kills no matter how it is administered. yet the Bible repeatedly calls us to be a holy people among a secular-minded and perverse generation (Ex 19:6.” Rock music can hypnotize people because it makes its impact musically rather than lyrically. . is designed to blast the emotions and control the mind. Deut 7:6. especially of hard rock. The result is that many are more interested in defining what God might permit rather than what pleases Him. . It jams you in the skull like a freight train. irrespective of its lyrics. 14:2. The words. making it susceptible to wrong feelings and practices whether the lyrics are sacred or secular. “A wordbased approached is not helpful at getting at the meaning of rock . drugs. Such a split is not feasible because “Christian” rock. Summing up.

violence. a pantheistic/ hedonistic worldview. We shall see that the presence and mixture of good and evil lyrics in rock music may well represent an effective satanic strategy to use the good lyrics to lead some Christians to accept more readily the evil ones. but also in many Christians churches which have adopted “sanitized” forms of rock music for their worship services and their evangelistic outreach. rock music has gone through an easily discernible hardening process. civil disobedience. After a short popularity. shaping the thinking and living of the younger generation. racism. As noted in the previous chapter. In contrast. occultism. and more excessive than the present. On the contrary. Christian rock stars and concerts look and sound very much like their secular counterparts. this music promotes. among other things. they speak out against all manner of injustice.”1 The prospect of a continuously increasing demand for more excessive and violent styles of rock music is reason for concern. Other musical styles like rag. Analysts predict that rock music is here to stay. because. sexual perversion. jazz. from plain rock in the fifties to metal rock and rap rock in the nineties. and its impact on the church and society will be felt even more deeply in years to come. satanism. and nuclear weapons. while older ones are still acclaimed. We are told that “the future of rock and roll will be even more diverse. This important argument is examined at the end of this chapter.
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. Some would disagree with this characterization of rock music. homosexuality. as noted in Chapters 2 and 3. because the lyrics of some rock songs are not immoral and anti-Christian. they have gradually faded almost into oblivion. open rejection of the Christian faith and values. and blues have come and gone. New types of rock music are constantly appearing.Chapter 4 THE ROCK AND ROLL RELIGION by Samuele Bacchiocchi
For the past half a century rock music has exercised a revolutionary impact on our society. and masochism. the cultural resonance of rock music still remains unabated. hatred. The impact of rock music is felt not only in the secular society.

has eventually led to the rejection of the Christian faith and values. The attempt to plug directly into the supernatural by means of strong stimulating repetitive rhythms represents an immanent understanding of the deity. Contrary to what many Christians believe.
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. and dance to transcend the limitation of time and space and connect with the supernatural. fewer Christians would be attracted to such music. His book is highly literate and provides an insightful analysis of the ideological roots and social impact of rock and roll. drugs. This pantheistic worldview. A closer look reveals that rock and roll embodies an endtime apostate religious movement of open rebellion against God and the moral principles revealed in His word. and the acceptance instead of "a new kind of religious experience for young people. The findings of this study are very important because they reveal that there is more to rock music than meets the eye. This chapter seeks to account for the longlasting and overwhelming popularity of rock music by continuing the investigation conducted in Chapters 2 and 3 into the worldview of rock music and its historical development. promoted by rock music. Pattison is a professor of humanities at Long Island University. impersonal. The book which has been most helpful for my understanding of rock and roll as a religious phenomenon is The Triumph of Vulgarity: Rock Music in the Mirror of Romanticism by Robert Pattison. but a social-religious phenomemon that reveals underlying beliefs about the ultimate nature of reality and the supernatural. often accompanied by drugs. They are value-laden."2 This chapter takes a closer look at rock and roll as a religious experience which involves the use of rock music.The Rock and Roll Religion
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If all rock songs dealt only with sex. Objectives of This Chapter. Thus. This means that rock music is not simply a musical style. supernatural power which the individual can experience through the hypnotic rhythm of rock music. embodying deeply held beliefs about the ultimate reality. though much of it promotes anti-Christian values and lifestyles. rock music is not just another musical genre that can be sanitized to worship God and proclaim the Gospel. We found that rock music draws its inspiration from a pantheistic conception of God as an immanent. and violence. But the fact that some rock songs address legitimate social concerns facilitates the acceptance of rock music as a whole. drugs. Musical styles are not neutral. it is imperative for Christians to understand the broader implications of the rock and roll phenomenon. The book is frequently cited by authors dealing with rock music.

It promotes a pantheistic view of the supernatural. believers are overwhelmed by a sense of self-abasement. and social issues. I suspect it does not matter whether the concert features The Beatles. and as such they are struggles and conflicts at the deepest level of our consciousness (personal and collective). sociologist Robert G. and nothingness. In many ways. and in the use of rock music. However. this hardly seems the case with rock and roll. religious movements. or the New Kids on
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.The Rock and Roll Religion
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In his book You Say You Want a Revolution. rock fans have a similar experience. An Experience of the Supernatural. language. rebellion.”5 In fact. and a lifestyle with its own system of fashion.” that is.3 Pielke writes: “All cultural revolutions are. violence. Pielke argues that rock and roll can best be understood as a religious movement which has brought about a religious transformation in American culture. then rock and roll can be viewed as a religion. If religion is defined as an experience of the supernatural which causes an individual to adopt a set of beliefs and practices. and dance to transcend limitations of time and space and connect with the infinite. drugs. awe.” which he defines as “mysterium tremendum. “It does not require a particularly difficult stretch of the imagination to compare this feeling with that of the acolyte [fan] attending a rock concert. At first. they are religious ceremonies of a pantheistic age which reduces God to an infinite power present everywhere and experienced through the rock rituals. the indescribable majesty of the supernatural. and values. Rudolf Otto describes the goal of religion as the apprehension and appreciation of the “holy. It involves a self-centered worldview. the epitome of the rock and roll experience. Observers of the rock scene acknowledge the religious nature of rock concerts. which is a style of music concerned with such worldly interests as sex. In his classic book The Idea of the Holy. As sociologist Charles Pressler points out.6 In the presence of the supernatural. a close look reveals that rock and roll is more than music. especially when attending a rock concert. Megadeath. at their core. Referring to rock concerts. reflected in the worship of the rock stars as semi-gods. transcendent Being. a commitment to a set of beliefs.”4 To characterize rock and roll as a religious movement may seem inaccurate because a religion presupposes the worship of a supernatural. a newspaper reporter wrote: “They are the religious ceremonies of a nonreligious age. at which one’s sensibilities are overwhelmed by the power and demands of the music. drugs.

—only rock music conforms to the meaning of the term ‘religion. Prior to the concert.The Rock and Roll Religion
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the Block—they are merely representatives of different rock and roll denominations—the loss of self in the presence of some kind of overwhelming agency would be the same. Unfortunately the energy released by rock music engages feelings rather than reason. “also describe the feelings of a person attending a rock and roll concert or its electronic equivalent. power.’”8 Pressler notes that some of the characteristic feelings in Christian worship. in terms of one’s experience of the phenomenon.” of the band Meat Puppets puts it: I don’t have to think. . Me. are swept into the maelstrom of energy issued by the numinous [supernatural power].” which speaks of “Good good good good good vibrations. as does rock. . the rock band. there seems to be legitimacy to the argument that at least emotionally. . and revolutionary passions of rock and roll music. This argument ignores the fact that classical music does not involve. attraction. I only have to do it. The rocker knows the world as a feeling and this feeling is by and large an optimistic pantheistic experience of the infinite power.”7 Some argue that the intense feelings experienced by those who attend a rock concert are not different from the feelings experienced by those who attend a classical music concert. a system of fashion. Rationality is secondary to emotion. “a lifestyle. He writes: “The experience of the rock and roll acolyte [fan] at the rock concert involves the presentation.”
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. by the priests. etc.” In their popular song “Love Is All Around Us. as a kind of expected presence that never becomes fully present. and appropriation of divine power. . a set of values. I formulate infinity. such as awe. The results are always perfect . the acolyte. and also the presenters. As the lyrics of the song “Oh. of the concept of rock and roll. . rock and roll constitutes a religion. The Beach Boys express this feeling in the song “Good Vibrations. Therefore. the concept that discloses the values.” In the album “Surf’s Up.” the Troggs express this central tenet of rock religion: “My mind’s made up by the way that I feel.”10 Feelings Rather than Reason. humility in the presence of divine majesty. the mysterium tremendum [the sense of the supernatural] hovers behind the acolyte.” the Beach Boys elaborate on the feeling of good vibrations: “Feel flows. As the concert or CD proceeds. Feel goes.”9 Pressler extends the comparison to the awareness of the supernatural as experienced by Christians at church and by rock and rollers at a concert.

violent. The religious nature of the rock and roll movement can also be seen in the commitment of rock fans to the music and lifestyle of their rock stars—a commitment which competes with that of nominal Christians to their Lord Jesus Christ. The concept of the colossal [supernatural] will always be presented in the insistence of the backbeat .”11 The movement toward excess promoted by the rock and roll religion will involve future experimentation with new instruments and louder electronic sound production in order to satisfy its adherents. of WASP. The rocker tends to act according to his passions. and more excessive than the present. A Movement Toward Excess. Here lies a fundamental difference between the Christian and the rock and roller experience of the supernatural. only with inflamed passions to follow the excessive. As Pressler puts it. We shall return in a moment to the rocker’s pantheistic experience of the supernatural. By contrast. . of the introduction of a nude woman into a meat grinder. and immoral behavior of their rock stars. He goes to concerts and listens to his music with the same fidelity with which the Christian of earlier generations attended church and read his Bible. and more gratuitous. more extensive. Female nudity has already become commercially considered in music videos. rock and roll has given rise to what Pressler calls “the move toward excess. Lacking the moral directives of a transcendent God. The Christian’s encounter with God during worship results in a clarification and reaffirmation of moral directives already revealed in Scripture. describes the presentation. rather than according to clear moral directives. whereupon the handle will be turned and raw hamburger will be sprayed over the audience. . to the point that Blackie Lawless. and has been for some time. “The rocker lives his music with an intensity few nominal Christians imitate in their devotion to the faith. Violence has become more graphic. because the elders are members of the rock and roll generation themselves. One of the most frequently repeated mottos in rock lyrics is ‘Rock ‘n’ roll will
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Instinct and not reason is the measure of the rockers’ universe.”12 Worshipping Rock Stars.” The hardening process which rock music has experienced during the past half century will continue into the twenty-first century. the rocker’s experience of the supernatural leaves him without moral directives. “the future of rock and roll will be even more diverse. and the children of our heavy-metalheads will find their own way to torment their parents. and the beat goes on. So the tendency will be to continue to push. “Youth will continue to press on toward new ways of expressing their difference and will continue to provoke their elders through the presentation of excess—the values themselves cannot change that much. Robert Pattison notes that. In terms of moral behavior. on stage. to deny similarity.

.”19 John Denver. For example. His mannerism and techniques which made him a legend have not only pervaded popular secular music since his debut but are now imitated in much of the contemporary Christian music as well. because it provides idols to be worshipped and imitated in real life.5 million [in five years] since it opened to the public in 1982. The Daily News reported that “Graceland has been drawing 3. said in an interview: “Someday I’ll be so complete.500 fee-paying visitors each day—or a total of 1.”15 The worship of any human being is plain idolatry and utter blasphemy against God. the deification of rock stars. tapes. This resembles the way Christians imitate Christ’s life and visit the places associated with His life and death. is very important to the rock and roll religion. The stars of rock undergo literal apotheosis [deification]: ‘Jim Morrison is God’ is a graffito now perpetuated by a third generation of rockers.”13 The apotheosis. “has carefully staged himself throughout the world as an icon of deity. second only to the White House. his extravagantly-rendered stage productions present strong implications of his godhood (manifested in his entrances and exits). His antics are not only perpetuated by those who look and dress like him. but the whole mode of his style is preserved by hundreds of other entertainers throughout the music industry. it has become the most recognizable and most visited private home in America.”16 The worship of Presley is indicated by the sale of “more than one billion records. Michael Jackson. and compact discs worldwide.”17 His Graceland estate has become a multimillion-dollar industry and a virtual religious shrine for the pilgrimage of many rock and rollers. I’ll
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. His videos regularly display him giving erotic gestures to the camera. lauding him as the savior of the world. a popular rock star who was killed in a plane crash in 1997.14 The article adds: “You were somehow caught up with this figure. you worshipped him. but also imitating their lifestyles and visiting their shrines. .The Rock and Roll Religion
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never die!’—a cry of belief.”18 What is true of the deification of Presley is also true of other rock stars. Such worship entails not only listening to the music of rock stars. “Many Elvis impersonators continue to course the places of entertainment throughout the world. The rock and roll religion promotes the worship of rock stars like Christianity teaches the worship of Christ. that is. as Hubert Spence points out. In an article entitled “Forever Elvis. It is a clear violation of the First Commandment: “You shall have no other gods before me” (Ex 20:3). I won’t even be human.” Newsweek calls Presley “a saint” and a “Jesus-like” figure. .

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be God. being in the presence of their rock stars is like a religious experience of the supernatural. a rock groupie. All three have been implanted into the life of the church.25
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. Could it be that Satan is using deceptive rock music to bring about the Endtime false worship. In Revelation 14 the beast and its image (v. 9) are identified with the false worship promoted by Babylon (v. Another significant indication of the religious nature of rock and roll can be found in its pantheistic orientation. 10)? We take up this question again in the closing remarks. but an atmosphere pervades the contemporary Christian concerts not unlike the early concerts of the Elvis era. the associated antics. The worship of rock stars is also promoted through biographies that exalt their saint-like qualities. In their thought-provoking book. Believers have made idols of their own rock and roll singers and continue to worship at their feet with devotion and their pocket books.8).”21 For some rockers. says: “Something came over me in the presence of rock idols. Robert Pattison offers an insightful analysis of the pantheistic beliefs present in rock music. Frank Garlock and Kurt Woetzel acknowledge that “A large segment of the Christian community has enthusiastically embraced this music of the world. as he used in the Plain of Dura of ancient Babylon to lead all the people to worship the golden image (Dan 3:7. Music in the Balance. Pamela Des Barres.”20 Rock musicians aspire to become divine and want their followers to honor them. follow them. The Music of Babylon. He traces these beliefs to the pantheistic ideas of Romanticism. and worship them as the caretakers of a new world. like Jerry Hopkins and Danny Sugerman’s life of Jim Morrison. A Pantheistic Religion. Robert Pattison points out that “The most successful books about rock itself are the hagiographies [biographies of saints] of its stars. something wondrous and holy. The worship of rock stars has influenced an increasing number of Christian churches. something vile and despicable. a popular nineteenthcentury humanistic movement which is still very pervasive today.”23 The crossing between the holy and the profane experienced in the presence of rock stars reflects the deceptive capacity of rock stars to make evil appear as good. and the philosophy. Not only have many Christians accepted the music as suitable for praise and worship.”22 She explains that being with rock stars is a cross between “pornography and heaven.”24 The imitation of rock stars and their music in church services and concerts reminds us of the apocalyptic description of the endtime false worship promoted by those who bid to “make an image for the beast” (Rev 13:14). No One Here Gets Out Alive. In her book I’m With the Band.

rather than reason. each must become God. is the ritual of the pantheistic culture of our time. the goal of rock is to “subsume the universe and become God. “a means of approaching the infinite. identifying the divine with all the natural processes. There is no transcendent location for meaning. This explains why the pantheistic orientation of rock and roll leads to a hedonistic lifestyle. God is not a transcendent personal Being beyond them. Pattison observes that “by simultaneously playing on rock’s expansive pantheism and its sentimentality about the primitive. but an infinite power present around them and within them. Every event is the center of the universe. What this means is that. In many ways this is what rock music promises to its followers: “If you listen to it you will lose consciousness of your human limitations and enjoy a godlike experience. His feelings. for the rock and rollers.” Pantheism and the Imperative of Fun. The deceiver assured Adam and Eve that by partaking of the forbidden fruit.’”30 The goal of the rock religion.The Rock and Roll Religion
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Pantheism rejects the existence of any transcendent personal being. . By reducing God to the natural process of the universe which is also within ourselves. This pantheistic mentality is reflected in the popular song “We Are the World. All feelings and events are equally valid.
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. the makers of ‘We Are the World’ created a song that zoomed to the top of the singles charts in four weeks and shipped ‘multi-platinum’ with certified sales of four million records in one month. equally present. reminds us of the temptation which led our foreparents to rebel against God. In Eureka Poe had written: ‘That God may be all in all.”29 The same pantheistic sentiment is expressed in the famous Beatles’ song “I am the Walrus”: “I am he as you are he as you are me and as we are all together. Incredible as it may seem. he. The pantheistic rock and roller equates self with God and the world at large.” which was composed as a campaign song to raise money for African famine victims. to the search for immediate pleasure. with all the resulting consequences. you. .”26 God is “obliterated in a pantheist’s cosmic orgasm. are the fundamental way of knowing. . we. they—are interchangeable. they would have a magic experience: “You will be like God” (Gen 3:5).”27 Rock music.” “All variations of self—I.”28 Through the ecstasy of rock music. that is. the rock and roller transcends the limitations of time and space. equally meaningful. to subsume the universe and to become God. and plugs into the infinite. according to Pattison. rock teaches people to forget about a transcendent God and to find meaning instead in the immediate pleasure offered by the material world which they can feel.

into the immediate excitement generated by the abuse of God’s good creation. You do not have to worry anymore.”32 The substitution of fun for the joy that comes from the enjoyment of respectable forms of art reveals the depraved nature of rock music. “Chuck Berry is the universally acclaimed black prophet of the rock era because his songs are relentlessly about fun: ‘I’m keep on dancin’ till I got my kicks!’ Fun. Some of the lyrics of rock songs that glorify sex are too
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. I’ll be your baby tonight. the highest aestetic achievement of a rigorous pantheism like Whitman’s or rock’s. Its goal is to lead people away from the enjoyment of beautiful.The Rock and Roll Religion
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Pattison gives several examples of rock musicians to illustrate this point. Augustine’ and the mystic allegory of ‘All Along the Watchtower. AND DANCE Sex as Union with the Infinite. Go get your lover. is the pleasure derived from a universe which is ourselves and which we cannot transcend because to know it is to be in it: ‘Well if you feel it ‘n’ like it. Sex plays a vital role in the pantheistic religion of rock and roll because it is seen as an important ritual to experience union with the infinite. ‘Go.”31 Another example of pantheistic hedonism is popular rock star Bob Dylan. PART 2 THE RITUAL OF SEX. close the door.’ Dylan ended his John Wesley Harding album with the apparently incongruous countryrock ballad. the imperative of fun. of whom Pattison says: “After the religious imagery of ‘I Dreamed I Saw St. Bring that bottle over here. Dylan raises Chuck Berry’s doctrine of fun to the highest of rock art.’ Chuck Berry’s is a universe that pivots on an untranscendent celebration of the energy I can extract from the present moment without recourse to anything but myself. DRUGS. genuine art inspired by a transcendent God. ‘I’ll Be Your Baby Tonight’: Kick your shoes off. I’ll be your baby tonight. The troubles of the world enumerated in the lyrics of John Wesley Harding vanish in the rocker’s final commitment to the sensible present of tonight. then reel it ‘n’ rock it. and what Dylan tells his lover is what rock has to say to transcendental observers everywhere: Close your eyes. go’ is the repeated imperative of his lyrics. Do not fear.

Anyplace” depicts public sex. and the creative hub of me is my genitalia.33 Even the less obscene samples given below are offensive.”34 The worship of sexual organs is evident even in some album covers.”35
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. David Lee Roth. The album “Sticky Fingers. his is the costume of most hard-rock idols. . and aging discomanes. Rock has restored the pantheistic adoration of the phallus to the West. In her song “Throb. “Get Your Groove On. He is the focus of every possible taste.The Rock and Roll Religion
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obscene to be included here. have propitiated the ritual demands of their audience by padding their crotches or highlighting their endowments. A cunning rock star nourishes the fantasy that he is sexually omnivorous. intimidated by modesty or the law. features a yellow banana that peels back to reveal pink banana-flesh beneath. The real rock star is a young male. That’s what happens When bodies start slappin’ From doing the wild thing. . That of “Velvet Underground and Nico. and he has received equal sexual obeisance from gushing girls.” by Rolling Stones. Mick Jagger has come closest to fulfilling rock’s pansexual fantasy. Tone Loc is very graphic in the song “Wild Thing. Little Feat says: ‘I have a rocket in my pocket. To omit them altogether could be interpreted as a failure to substantiate that sex is a vital component of the rock and roll religion. formerly of Van Halen and one of rock’s transient sex symbols.” and “Sexy Thoughts. Paula Abdul uses sensual and erotic lyrics in such songs as “Head Over Heels. “I am the creative hub of the universe.” Janet Jackson. “The ideal rock star is sexuality incarnate. mid-life sadists. relies on sexual sights that “build to an orgasmic.” The rock religion worships the genitalia as the creative hub of the universe. . horny. usually performs in tight outfits accented by a bulging red G-string. Jim Morrison and Iggy Pop are the most prominent of a series of rock stars who have exposed themselves for a grateful public. With minor variations. features the crotch of a bulging pair of jeans with the zipper down to reveal the underwear. Other rock stars.” by Velvet Underground. and well-hung. Michael’s younger sister.” which reached number two on the charts: Could not get her off my ____ She was like static cling.” The song “Anytime. In life. S——.’ The crotch is the launchpad for the conquest of the universe. butch boys.

” Jefferson Airplane mentions the potential of drugs: One pill makes you bigger.The Rock and Roll Religion
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The sexual appetite extends to incestual acts.”36 The worship of the genitalia is fundamental to the rock and roll religion.”37 Drugs allegedly provide such cosmic energy. play a vital role in the rituals of the rock and roll religion. Pattison concludes his analysis of sex in the rock scene with this arresting statement: “Nothing could more firmly distinguish rock from other forms of popular music than its insistent penis worship. The Artist. demands constant infusion of cosmic energy. praises his incestual relationship with his sister in his “Purple Rain” album: My sister never made love to anyone but me. you get me closer to god.
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.” sung by the popular rock band Nine Inch Nails. Drugs. A good example is the song “Closer. . formerly known as Prince. Today we are witnessing the unprecedented fulfillment of this endtime sign given by Christ and clarified by Paul. “White Rabbit. Drugs like amphetamines and cocaine produce an euphoric state that makes the rocker believe he finds himself at the center of a universe of pure energy. who is “bound on an expedition to infinity. Similarly. The rocker. In the celebrated drug song. because they alter the mind in ways conducive to a deceptive consciousness of the infinite. The sexual perversion promoted by the rock movement and the entertainment industry reminds us of the sexual sins and moral depravity in the days of Noah and Lot. KJV). And one pill makes you small. Incest is everything it’s said to be. because they are seen as the creative hub of the universe and as a means to approach divinity. Paul predicted that “in the last days” many will be “without natural affection. my whole existence is flawed. Drugs to Experience the Infinite. . Jesus referred to those days to characterize the age preceding His return (Luke 17:27). The lyrics say: “I want to feel you from the inside. incontinent” (2 Tim 3:1-3. And the pills that mother gives you don’t do anything at all. . Mother’s licit prescriptions are seen as worthless because they do not alter the consciousness by making a person feel bigger or smaller. like sex.” This perverted notion of sex as a means to get closer to god reminds one of the fertility cults of the ancient pagan worship where sexual organs and sacred prostitution served as means of interaction with the gods. I want to f–– you like an animal.

because it offers to the rockers an opportunity to imitate and represent
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.”42 The Good News of the Gospel is that the “Damascus Road” experience is found not through the rock beat and mind-altering drugs. that’s bigger drugs than Pot.41 The title of Steve Turner’s book.’ The perfect self.The Rock and Roll Religion
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“Rock’s speed-freak envisions a totality. That’s drugs. The acceptance of Christ’s provision of salvation fills life with peace and purpose—something that the rock beat and drug can never offer. Both aim to provide the self with a godlike eminence from which to apprehend its embrace of totality. The results of such efforts are often tragic.” In the song “Lucy in the Sky with Diamonds. They provide a similar experience of the “white light/white heat.”40 The rockers’ use of various kinds of drugs to obliterate consciousness and experience contact with the supernatural reveals their desperate effort to fill the emptiness of their lives by reaching out to the supernatural through the hypnotic power of the rock beat and drugs. don’t you know it lightens up my eyes. unsure at first whether they’d see God or whether they were god. Some reports list over eighty rock stars who have died in recent years in drug-related incidents. but through a Person—the Person of Jesus Christ who says: “Come to me . Turner describes drugs as “the Damascus Road” experience for rockers. and emerged with their egos ripped and mauled.” the Beatles describe a world seen through “kaleidoscopic eyes” which is alive with “tangerine trees and marmalade skies. not of kind. . . . Dance is also an important aspect of the liturgy of rock and roll.” Pattison explains that “the difference between speed and hallucinogenic visions is one of quality. Since I became a musician I’ve always needed a drug to survive. Jann Wenner quotes John Lennon. comprised of what the Velvet Underground calls ‘white light/white heat: ‘White light. . of which uppers provide a fleeting apprehension. sums up well the rock religion: It is a search for redemption through rock music and drugs. . “People started out on trips as hardnosed materialists after a bit of fun. The Rock Dance.”39 Drugs provide rock musicians the ecstatic inspiration needed to produce their music. is identical with the pure energy of white heat. Don’t you know it fills me with surprise. Hungry for Heaven: Rock and Roll Search for Redemption.”38 This is also the reason for the use of hallucinogenic drugs like LSD and mescaline. Speed and coke are traditional fare on the menus of rock precisely because they are comestables that expand the self to incandescent godhead. ‘A Hard Day’s Night’ I was on pills. and I will give you rest” (Matt 11:28). In his book Lennon Remembers. saying: “‘Help’ was made on Pot.

. . never-born rock. . other rock. is tolerant and pluralistic.”46 Undoubtedly. Rock is the liturgy of this pantheism. “If rock is a new religion. not in the streets. like Feederz’s ‘Jesus Entering from the Rear.The Rock and Roll Religion
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bodily everything that they feel about the supernatural.’ is blasphemous. “The liturgy of rock repeatedly calls on the believer to ‘dance dance dance. born-again rock. Rastafarian rock. like the songs of Soft Cell. and still other rock. Dance is one of the sacraments of rock. . Pattison explains: “Some rock. though vulgar. But the pantheism behind the liturgy. . Zen rock. even Jewish rock.”44 The Eclectic and Deceptive Nature of Rock Music. it is not the oriental paganism portrayed in its own mythology but a fairly decorous pantheism whose practice no more demands orgies than Christian ritual requires human sacrifice at the mass. like the music of the Police. careless of whatever contradiction arises.’ to ‘keep on dancing and a-prancin. each distinguished by its vulgar treatment of the religious material. There is Vedic rock.”43 The importance of dance lies in that it enables the rocker to express bodily the experience of the supernatural induced by the beat and. because some songs sound Christian and others Satanic. by drugs. often. most rock fans will admit that they are not consciously
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. in real life it is done in discos and at parties. and thanks to Kinky Friedman and the Texas Jewboys. “The ability to dance is equivalent to the ability to feel. Rock merely continues the American democratic religious tolerance and diversity. and on the Billboard album charts a record by U2 that features lead singer Bono’s adaptation of the Gloria from the mass appears next to Mötley Crüe’s Shout at the Devil. The dancing of rock happens in discos and at parties. ‘Do You Love Me Now That I Can Dance?’: You broke my heart and made me cry When you said I couldn’t dance– But now I’m back to let you know That I can really make romance. Rock’s pantheism happily accommodates the varieties of religious experience. is arguably Christian and atheistic all at once. Pattison explains that while in rock mythology the ritual of dancing is performed in the street.”45 The eclectic and pantheistic nature of rock music makes it possible for rock’s fans to adore Satan “in the disco by night and Christ in the cathedral by day. . The pluralistic and eclectic nature of rock music can be very deceptive for Christians. It is the ritual celebration of the sentient self-imitating the Dionysian infinity. is overly Christian.’ One of the central texts of rock is the introduction to the Contours’ 1962 hit.

Several reviewers of the first draft of this manuscript. We honestly believe that Jesus Christ is the Savior. So far has the trend gone that even the Rolling Stones included a Jesus rock song on their album ‘Exile on Main Street.” Can religion be truly “real” for a crossover rock band that boasts to be “the most unreligious Christian band you could imagine”? Such a claim ignores the fact that the Christian religion is not only a profession. the lyrics of some secular rock songs do speak about Christ and Christian themes. which went out to the 8.” however. but also a practice—not only creed but also deed.”47 The mingling of sacred with sacrilegious in rock music may explain why some Christian musicians have so readily crossed over to secular rock. Robinson. Such songs as “Sympathy for the Devil. In his book The Day the Music Died. Religion is real for us.’ Rock has indeed become a religion complete with its own distorted and warped liturgy. But whether Satan is worshipped consciously or unconsciouly. alerted me to the fact that the lyrics of some
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.” “Satan Rock.The Rock and Roll Religion
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adoring Satan.” and others were deliberately sacreligious. the anti-scriptural overtones have been obscured so that the uncritical listener can be deceived into thinking that rock has become more acceptable to Christian ears. so faith apart from works is dead” (James 2:26). but so is rock and roll. former rock star Bob Larson notes: “The religion and rock syndrome of today may contain such varied themes as George Harrison’s Hindu metaphysical view of ‘My Sweet Lord’ and Judy Collin’s rendering of the beloved gospel number ‘Amazing Grace.’ and a ‘Superstar.” “Mrs. and yet be “the most unreligious Christian band you could imagine.000-plus subscribers to my “Endtime Issues” Newsletter.” Arthur Brown’s “Fire.’ In the last few years we have learned that supposedly ‘Jesus is a Soul Man. the end result is the same: he receives the worship due only to God. With the advent of “Jesus Rock.”48 One wonders how people can claim to believe and accept Jesus Christ as the Savior. but we are about the most unreligious Christian band you could imagine. The mingling of sacred with sacrilegious in rock music may explain also why some Christians see nothing wrong with such music.’ Rock religious lyrics today come complete with both hallelujahs and Hare Krismas. Scripture teaches us that “as the body apart from the spirit is dead. Initially rock music treated Christianity with blasphemy and contempt. We are not trying to shut down rock radio stations or make magazines go out of business. After all.’ a ‘Spirit in the Sky. Robert Sweet of the crossover rock group Stryper admitted: “We are not religious fanatics who are trying to convert everybody we meet.

but in trusting in God’s overruling providence to sustain us through suffering. First. This song speaks of learning from pain. makes its impact musically rather than lyrically. You lose. they speak out against all manner of injustice. The medium affects the message. Second. It feels so good (swimming in your stomach). you learn. you learn. The solution to the problem of pain is not found in swallowing a pill. in her song “You Learn.The Rock and Roll Religion
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rock songs are not anti-Christian. You scream. Youth.” she croons: I recommend getting your heart trampled on to anyone. for example. You bleed. Leisure. Swallow it down (what a jagged little pill). but the contention is wrong because it ignores three major considerations. you learn. but Morissette does not offer the right answer. You cry. But her language contains obscenities and psychosexual matter. For example. and nuclear weapons. because some of it promotes worthy causes. are absorbed after the music has made its mark. good and evil are often mixed in the same song. This important point is considered more fully in the following chapter. Her songs are popular because of her passion and rage at many social problems. The words.
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. It may echo what living for Christ is all about. Even those songs which contain no obscene language offer no biblical answer to human dilemmas. You love. Then wait until dust settles. In fact.”49 This means that the hypnotic beat of rock music typically neutralizes whatever positive message the lyrics may contain. as we see in Chapter 5. . You live. I recommend walking around naked in your living room. after altering its lyrics. hatred. you learn. and the Politics of Rock ‘n’ Roll. This observation is correct. . . Their contention is that rock music can be legitimately adopted for Christian worship. “A word-based approach is not helpful at getting at the meaning of rock . you learn. racism. if they are noticed at all. you learn. As sociologist Simon Frith points out in his book Sound Effects. rock music. Take Alanis Morissette.

In the following chapter we take a closer look at the actual structure and values of rock music. and moral implications of the rock-and-roll movement invite us to consider a timely question: Could it be that the worldwide popularity of rock music. may well represent an effective satanic strategy to use the good lyrics to lead some Christians to accept more readily the evil ones. If all rock songs dealt only with sex. Rock music. Like our foreparents at the beginning of human history.The Rock and Roll Religion
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Lastly. including that of rock music. but a supernatural power present around them and within them. The result has been the rise of countless heretical movements. in Chapter 3 the discernible hardening process of rock music. In many ways rock music promises to its followers what Satan promised Adam and Eve: You can become like God by partaking of the forbidden fruit. fewer Christians would be attracted to such music. and dance are important rituals of the rock religion. as noted earlier.
CONCLUSION The cultural revolution brought about by rock music during the latter half of the twentieth century is at its roots a religious movement based on a pantheistic understanding of God. sex. because they are supposed to provide the means to transcend the limitation of time and space and experience the supernatural. many today are succumbing to Satan’s temptation in the hope of enjoying a godlike experience. is part of the mastermind strategy to promote the endtime false worship described in the Three Angels Message of Revelation 14?
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. is to be found in a clear understanding of their false teachings and practices. drugs. and violence. drugs. the mixture of good and evil lyrics in rock music. This is what this symposium is all about. Throughout the course of its history. For the rock and rollers. The religious and social revolution brought about by the rock-androll movement must be seen within this historical context. Christianity has been plagued by the mixing of truth with error. social. and in this chapter the deceptive religious experience offered by rock. which promotes the worship of self and human idols. So far we have examined in Chapter 2 the philosophical worldview of rock music. God is not a transcendent personal Being beyond them. But the fact that some rock songs address legitimate social concerns facilitates the acceptance of those rock songs which promote anti-Christian values and lifestyles. The investigation of this chapter on the religious. The best Christian defense against all forms of deceptions.

Twice in Daniel 3 there is a long list of the different musical instruments used to produce “every kind of music” (Dan 3:7. Daniel informs us that “every kind of music” (Dan 3:7. Could it be that. and shall be found no more. shall be heard in thee no more” (Rev 18:21-22). Soon the whole world will be gathered for the final showdown in the antitypical. 10) was used to cause all classes of people from all the provinces of the empire to corporately worship the golden image (Dan 3:10). calypso? Could it be that many Christians will come to love these Gospel songs. country-western. of flute players and trumpeters. Satan has his own songs for the Endtime false worship. Satan is using today “every kind of music” to lead the world into the Endtime false worship of the “beast and its image” (Rev 14:9)? Could it be that a Satanic stroke of genius will write Gospel songs that will have the marking of every taste of music: folk music. and the sound of harpers and minstrels. disco. some will miss the chance to sing the New Song of Moses and of the Lamb? May this question resonate in our consciousness and challenge us to stand for truth like the three Hebrew worthies. rock. Those who reason that there is nothing wrong with the music of Babylon may be conditioning themselves to accept the false worship it promotes. It is noteworthy that in Revelation the outcome of the showdown involves the silencing of the music of Babylon: “So shall Babylon the great city be thrown down with violence.
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. apocalyptic Plain of Dura and “every kind of music” will be played to lead the inhabitants of the earth to “worship the beast and its image” (Rev 14:9). as in ancient Babylon.10). Could it be that. A fiery furnace was prepared for those who refused to pay homage to the golden image. jazz. rap. because they sound very much like the music of Babylon? The summon of the Three Angels Message to come out of spiritual Babylon. all the inhabitants of the Babylonian empire were called to worship the golden image of King Nebuchadnezzar. by rejecting its false worship. On the Plain of Dura.The Rock and Roll Religion
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It is important to remember that the apocalyptic imagery of the false worship promoted by Babylon in Revelation 13 and 14 is derived from the historical chapter of Daniel 3. which describes an event of prophetic endtime significance. by adopting the music of Babylon. could well include also the rejection of the rock music of Babylon. This eclectic music was played to induce people to worship the golden image.

social. in spite of its revolutionary anti-Christian and countercultural nature? Why is it that even Christian churches are adopting more and more Christianized forms of rock music for their worship service and evangelistic outreach? Is there something unique in the structure of rock music and/or in its lyrics that makes this music substantially different from any other form of -117Main Menu
. an irresistible addiction for many people. which has created a rift between the older and younger generation. It is the greatest propagator of the moral. “Today. Nothing surrounding them—school. Rock music has become an effective way to communicate a new set of values and to produce a new religious experience to an emerging generation. The old European music influenced the music of the first half of the twentieth century and was regarded as “good for the kids. Before rock music.”1 What is it that makes rock music so attractive. . As Allan Bloom of the University of Chicago points out. The sound and philosophy of rock music penetrates virtually every area of daily activity. When they are in school and with their family. a very large proportion of young people between the ages of ten and twenty live for rock music. offices. family.Chapter 5 THE ROCK RHYTHM and A CHRISTIAN RESPONSE by Samuele Bacchiocchi
Rock music is the most popular cultural phenomenon of the second half of the twentieth century. they long to plug themselves back into their music.” A radical change began in the 1950s with the introduction of rock music. places of businesses. . influencing our entire culture. Its insistent. pulsating beat can be heard in homes. the family as a whole enjoyed music as a wholesome form of entertainment. Nothing excites the passions of young people today as does rock music. and aesthetic revolution we are experiencing today. church—has anything to do with their music world. Rock music has penetrated every aspect of life. and even churches. .

and religious experience. The underlying assumption of this symposium is that Christians and secular people are attracted to rock music because of what it offers them in terms of excitement. thrash rock. So far our investigation has focused on the worldview of rock music. because both groups seek to fulfill the inner urge for a pleasurable experience of the supernatural through the hypnotic effects of rock music. We found that rock music has gone through an easily discernible hardening process from rock ‘n’ roll to hard rock. worldview. It would be presumptuous to claim that this chapter resolves the enigma of rock’s attraction by identifying all the factors contributing to its unprecedented popularity. and dance to transcend the limitation of time and space and connect to the supernatural. In Chapter 2 we found that rock music reflects a pantheistic conception of God as an immanent impersonal supernatural power which the individual can experience through the hypnotic rhythm of rock music and drugs.
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. The latter involves the use of rock music. for rock hardly fits into the high-culture formalist definition of musical accomplishment. drugs. and religious experience. sex. heavy metal rock. New types of rock music are constantly appearing.The Rock Rhythm and a Christian Response
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music? Quentin Schultze notes that “Musicologists have pondered the enigmas of rock’s attraction and have generally gone away mystified. because rock fans constantly demand something stronger and stronger to meet their craving. In Chapter 4 we found that the pantheistic worldview promoted by rock music has eventually led to the rejection of the Christian faith and to the acceptance of a new kind of religious experience. acid rock. value system. This pantheistic conception of God has facilitated the acceptance of rock music among both Christians and secularly minded people. etc.”2 Objectives of This Chapter. its ideological development. rap rock. This chapter seeks to understand what accounts for the longlasting and overwhelming popularity of rock music by continuing the investigation conducted in the last three chapters into the nature of rock music. Any attempt to be comprehensive in the analysis of such a complex social phenomenon risks the danger of being superficial. This chapter continues and completes the investigation into the nature of rock music by taking a closer look at its defining characteristics. In Chapter 3 we traced the ideological evolution of rock music by focusing on the values that have emerged during the course of its history.

PART 1 THE STRUCTURE OF ROCK MUSIC The defining characteristic of good music is a balance among three basic elements: melody. Special consideration will be given to the effects of rock music on the mind. and physical components of our beings. text. are singing a melody that “harmonizes” with the other three parts. its rhythm. The Melody. We refer to scientific studies which indicate that the rock beat affects the body in a way that is unlike any other type of music. but for the purpose of our study. mental. harmony. and rhythm. Before looking at the role that rhythm plays in rock music and its effect on the human body. muscles. especially its characteristic rhythm and beat. and last melody. and sexual arousal. we limit our discussion to the three above-mentioned elements. harmony. such as the alto. This closer look at the nature of rock music provides a basis for discussing the overriding question of this symposium—Can rock music be legitimately transformed into a fitting medium to worship God and proclaim the Gospel’s message? This chapter is designed to help in formulating a final answer to this question by offering an understanding of the structure of rock music and its effects. and performance practices could be listed. then harmony. The chapter closes by offering some practical suggestions on how to revitalize the singing of traditional hymns and to introduce new hymns to the congregation. to explain how melody.The Rock Rhythm and a Christian Response
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namely. it might be helpful for those less versed in music. It is the “story line” of a piece of music and consists in the horizontal arrangement of notes which is recognized first when we sing a song like “All to Jesus I Surrender. and rhythm. harmony. Rock music inverts this order by making rhythm its dominant element. This chapter is divided into two parts. The first part examines the structure of rock music itself. The second part discusses how the church should respond to rock music by choosing instead music that respects the proper balance among melody. The melody is the most prominent part of the music. Other elements such as form. Such balance reflects and fosters order and balance in our Christian life among the spiritual. It alters the mind and causes several physical reactions. dynamics. tenor or bass parts.” Those who sing what is called the harmony.
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. including sexual arousal. and rhythm are integrated in good music.

Melody and harmony must unfold together. This aspect of music may be difficult for a nonmusician to comprehend. . middle. . The melody tells the story of the piece. and ending) and give a sense of completeness. as we shall see. makes this observation about a good melody: “Why a good melody should have the power to move us has thus far defied all analysis .The Rock Rhythm and a Christian Response
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Aaron Copland. including the human body..”7 Everything in nature. we certainly can make some generalizations about melodies that we already know to be good. but you may not be sure how to define it. You know it when you hear it. The rhythm is what makes the music move. Scientists have discovered
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. Good music will have a balance of rest and unrest. What if every song were written with the harmonization in a minor key? That would definitely affect our mood. Harmonic chords can also color our mood as listeners. music becomes one continuous. “It must have satisfying proportions (i. . Though we may not be able to define what a good melody is in advance.e. has rhythm.”6 The Rhythm. and rhythm makes this simultaneous unfolding possible. Without rhythm.”3 According to Copland a good melody has the following general characteristics: “It must have rise and fall (i. For example. A melody that remains static (on the same pitch) can through repetition produce a hypnotic effect. There is a rhythm to the heartbeat. “Rhythm is the orderly movement of music through time. It is the sound that we hear when the various parts coincide. lacks several of these essential characteristics of good music. and uninteresting sound. and speech. respiration. pitches going up and down). boring.”4 Rock music. . “As a melody provides the ‘profile’ for a piece of music. the harmony is its ‘personality. Just as the heartbeat is the life of the body.. music is dead. e. “It must at some point (usually near the end) come to a climax and then a resolution. The harmony is produced by the chords which match the key structure in which the melody is written. “It will be written in such a way to elicit an emotional response by the listener.’’5 “Chords can provide both rest (consonance) and unrest (dissonance) in music. rhythm is the life of the music and provides its essential energy. a beginning. who is regarded as the dean of American composers. . The Harmony. All good art will have a climax. . Without rhythm.

”11 It should be clarified that “a firm and consistent rhythm. It is a drummer’s holiday. Rock music reverses the order of good music by making the rhythm the most important part of the sound. Jazz has a rhythmic swing. . harmony. then rhythm. as Tim Fisher explains. supported by balanced harmony. Rock music reverses the common order of the beat by placing the emphasis on what is known as the offbeat. It flows with an exciting yet ultimately releasing feeling. FOUR/ The fundamental problem with rock music is its relentless beat which dominates the music and produces an hypnotic effect. TWO. whose career as a popular rock musician gave him a firsthand experience of the rock scene. “Repetition of these patterns in music is divided by measures. Concert music (i. three. Larson explains: “Unlike other forms of music which may reveal melodic inventiveness.8 Brain waves have frequencies that are influenced by physical and mental states. the main emphasis falls on beat four and the secondary beat is on beat two as pictured in the measure that follows: /one.The Rock Rhythm and a Christian Response
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that even the brain functions in rhythm. THREE. But rock is built from a hard. the focus of rock is usually on the beat. the order is clear: melody.” does not mean an over-accentuated rhythm as found in rock music. In any good piece of music. points out that “the major issue for consideration from a moral and spiritual standpoint is the extent to which a pulsated or syncopated beat overrides the other musical elements in a song so that the level of communication is primarily sexual and physically arousing.. or four. four/. our topic here is Christian music as it relates to communicating the spoken word.”9 Rhythm in Rock Music. and the second strongest beat is the third. Bob Larson. If you desire to communicate a text with music.” Usually the group of beats come in patterns of two. undergirded with a firm and consistent rhythm. two. However. e. the strongest beat is the first. the strongest beat in a pattern (measure) is the downbeat (the first beat in the pattern). which make up what is known as “meter. In the offbeat. “the correct order is a good melody. The same is true in music where rhythm is organized into regular recurring beats. three. . as pictured in the measure that follows: /ONE.
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. If a pattern has four beats. . a symphony or another instrumental piece of music) will sometimes vary from this order because of a desire to showcase the talents of the composer or the dexterity of the performer.”10 In good music.

explains that the “pulsating beat and fast rhythm will unmistakably identify rock music. Rock and roll is different from other music primarily because of the beat. Atlantic City. He finds that the common denominator of all the kinds of rock music is its beat: “Perhaps the most important defining quality of rock and roll is the beat. Decide on a chord progression . Some rock sounds emphasize alternating beats. relentless beat. because most rock and roll music consists of no more than four or five very simple cords in a very clearly defined key.”15 He instructs readers on how to write a good rock song by following the following four steps: “1. Decide on a time signature. it is
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straight-up-and-down pounding rhythm that produces frustrated energy. . The appeal does not lie in harmony. loud. Though he may add fills (short percussion outburst). Nor does the attraction lie in melody. Rock inverts the correct order of the elements of normal music by making rhythm and harmony more important than melody and lyrics. 3.”14 It is vitally important to understand that rock music is different from all other music because of its heavy emphasis on the relentless beat. Charles Brown discusses the various types of rock music that have evolved since the days of Elvis Presley. . Write the lyrics. The heavy emphasis on beat is what distinguishes rock from every other type of music. it is the drummer’s job to keep the force of rock moving with the incessant pulsating and syncopated beat. . blues). . Bob Larson.”12 Driving Beat. . . 2. country and western. The Art of Rock and Roll.”16 This statement is abundantly clear. Quentin Schultze notes: “The heart of rock and roll is rhythm and beat—those twin forces give rock its energy and propel its intentional simple harmony and melody. Write the melody. This fact is acknowledged by rock musicians. who prior to his conversion was a successful rock performer on television shows and entertained capacity audiences in Convention Hall. . while other rock tunes in part or whole hammer every beat home. . Negro spiritual. Gene Grier says that “rhythm is the most important and basic element of rock music because of the way in which we relate to it. 4. . Since rock is a hybrid sound of whole traditions of music (jazz. In his book.”13 The first and most important defining and distinguishing characteristic of rock music is its driving. since the rock and roll vocalist does not so much sing as shout and wail. In his book A Conceptual Approach to Rock Music.

to pray discursively. physiological. Experts have examined rock music. where the beat is very subtle and less “unfriendly” to the nerves. not as a spiritual or religious experience. “A word-based approach is not helpful at getting at the meaning of rock . In less technical jargon and in specific context. because the beat is still there. As sociologist Simon Frith points out in his book Sound Effects. muscles. and to study Scripture are compromised [by rock music]. The Effects of the Rock Beat.”19 This scientific fact “there is simply no such thing as Christian rock that is substantively different in its impact” is obviously ignored by those who argue that rock music can be legitimately adopted for Christian worship by changing its lyrics. Leisure. Youth.The Rock Rhythm and a Christian Response
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hard to assign any one sound as typical. and physiological phenomenon. are absorbed after the music has made its mark. An important reason why rock music affects the body in a way that is unlike any other type of music is the unique character of the rock beat. short-term implications involve a decrease in receptivity in discursive communication. Since Chapter 8 deals specifically with the effects of rock music. ultimately an over-accentuated rhythm has the same effect. and social negative effects of the rock beat on humans and animals.”17 The defining role of the relentless beat in rock music explains why its impact is musically rather than lyrically. A wealth of scientific research exists on the various psychological. The fact is that changing the lyrics does not affect the mental-physical impact of rock on the functioning of the mind. research scientists Daniel and Bernadette Skubik emphasize with amazing clarity (for scientists!) the musical impact of the rock beat. But. all centered in the relentless beat. psychological. Whether the words are evil. It has become a musical melting pot for many styles. “The conclusion of these studies is twofold. and hormone production. The words. First. innocuous. while long-term implications pose serious questions for rehabilitation of degraded left-hemisphere cognitive skills. Second. the overall neurophysiological effects generated by rock music remain the same. we should expect that abilities to receive and deliver the gospel. and the Politics of Rock ‘n’ Roll. or based in Holy Scripture. only a few studies are cited in this context. usually
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. lyrics are of minor importance here. gentler beat is also present in soft rock. There is simply no such thing as Christian rock that is substantively different in its impact. if they are noticed at all. A driving. but as a social. whether soft or hard. . .”18 In a major study on the Neurophysiology of Rock. .

encouraged.”21 The Effect of the Rock Beat on Muscles. and the hormone levels. the listener experiences an addictive high. His book Your Body Doesn’t Lie contains a wealth of information on this subject. musicians know that discordant music sells and sells. opiates and sex hormones) are released as a result of electrophysiological synchronization with the rhythm. all normal subjects have reacted as indicated when the rhythm exceeds 3-4 beats per second—roughly speaking a rhythm exceeding the rate of the average heartbeat. and (3) various hormones (specifically. of a weak-strong sequence. After a study of over 20. One starts with soft rock. “Rhythm for which drums provide or generate the basic beat. then rock ‘n’ roll. “Like unscrupulous ‘diet’ doctors who addicted their clients to amphetamines to ensure their continued dependence. produces measurable responses in the body’s muscular system.’ Musicians have found that when they go against these rules. (2) brainwave activity itself aligns with the rhythm so generated.” The offbeat of rock music consists. and ‘safe. which causes the mind to feel comforted. Good music follows exact mathematical rules.”20 Neuroscientists Daniel and Bernadette Skubik provide a concise explanation of how the rock beat affects the muscles. and though individual subjects may vary in their response over narrow ranges of controlled input. The rock beat sets in motion an automatic fight-and-flight response. As in all addictions. thus affecting the heart and blood pressure. brainwave patterns and hormone levels. as noted earlier. which reflects the heartbeat and other rhythms of the body. This offbeat stops at the end of each bar or measure. he found that the rock beat affects the body negatively in several ways. The same music that once created a pleasant tingle of excitement no longer satisfies.The Rock Rhythm and a Christian Response
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referred to as “offbeat. This causes the listener to subconsciously come to an halt at the end of each bar. Briefly. then on up to heavy metal music. The music must become more jarring. John Diamond is a respected physician who has conducted extensive research on the impact of music on the human body. victims become tolerant. he found that the stopped offbeat weakens the body because it goes against the normal rhythm of human physiology. These results have been regularly documented by various researchers. as if the music stops and then starts again. and more discordant. (1) muscle coordination and control become synchronized with the basic beat. For example. the mind. Psychiatrist Verle Bell offers a graphic explanation of how rock beat causes addiction: “One of the most powerful releases of the fight-or-flight adrenaline high is music which is discordant in its beats or chords. This is the opposite of the so-called dactylic or waltz-like beat. louder.000 records.
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Using hundreds of subjects.”24 Other scientific studies have produced similar results. . The normal pressure required to overpower a strong deltoid muscle in an adult male is about 40 to 45 pounds. Tore Sognefest.”23 In his book Tuning the Human Instrument. Shopping in the record department of a large New York store. This effect held true whether the subject liked the style of music or not. how one ‘felt’ about the music. Led Zeppelin. Diamond. anxiety. Later I did the obvious thing—I tested the effect of this music. showed reduced skin resistance to stimuli. epinephrine. . a Norwagian music professor and author of the book The Power of Music. I became weak and restless and generally ill at ease. One of them is similar to the study of Dr. movement dependent on stimulation]. Sheldon Deal. Steven Halpern reports several studies on how the rock rhythm affects the mind and the body. and aggressive behavior. “Several years ago my research on the effect of music took an unexpected turn.”25 Similar experiments are reported in Chapter 8. “Researchers at Temple University found that university students exposed to recordings by the Beatles. Using tests basic to kinesiology [that is. easy-listening or softer music lowered heart rates and allowed for longer training sessions. . He wrote: “Dr. the Rolling Stones. In other words.”26
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. a nationally known chiropractor and author. and other similar bands. . “Researchers at Louisiana State University found that listening to hard-driving rock music increased the heart rates and lowered the quality of workouts in a group of twenty-four young adults. breathed faster. demonstrated the effect of the standard Rock ‘n’ Roll beat on muscle strength of the body. . Jimi Hendrix. he showed that the rhythm arrangement that we hear all the time in pop music has a definite weakening effect on the subject’s strength. a common denominator cutting through most subjective reactions is that of sexual arousal. One of them was conducted by the author of the chapter. I found that listening to rock music frequently causes all the muscles in the body to go weak. . and by no means an old fuddyduddy categorically putting down all of Rock and Roll per se. . In contrast.22 The body reacts to the beat with muscle weakness. and had an increased heart rate compared to those exposed to random background noise. .The Rock Rhythm and a Christian Response
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which causes a secretion of the hormone. The place was vibrating with rock music. was irrelevant in terms of how the body ‘felt’ . Diamond relates the unexpected way in which he came to research the effects of the rock beat. In another study on the effects of rock music. only 10 to 15 pounds is needed. When rock music is played. tastewise.

bassist for Duran Duran. manager of the Rolling Stones. Think of us as erotic politicians. it both causes and expresses an increasing association of overt aggression linked to sexuality. They are used to control the body’s sensitivity to pain. As rock music has moved farther away from its historical roots and medium (viz. How does the rock beat stimulate sexual arousal? Daniel and Bernadette Skubik explain the process: “When the beat generates high levels of sensory excitation (that is.”28 Jim Morrison stated: “I feel spiritual up there. the brain releases the body’s natural opioids. to high sensory stimulation the body responds with the release of gonadotrophins as well as opioids.The Rock Rhythm and a Christian Response
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Rock Rhythm and Sexual Response.”32 A similar and yet simpler explanation is given by Anne Rosenfeld in her article “Music. Rock musicians are well aware of this fact and exploit it to their advantage. One of the best known effects of the rock rhythm is sexual arousal. the audience and the performer often feel like they’re having an orgasm together. the beat. Mick Jagger said: “You can feel the adrenalin flowing through the body. . I entice my audience. What I do is very much the same as a girl’s striptease dance. are a few other testimonies of rock stars. It’s sort of sexual.” published in Psychology Today.”31 These comments by rock stars make it abundantly clear that rock is designed to stimulate people sexually. The result is a strong connection forged between a stressed fight-orflight drive state and the young person’s developing sexual drive. She explains that music arouses “a range of agitated feelings—tense. This driving activity occurs in all people when highly stimulated. stated: “When the music works. subjective evaluation of the input—such as whether one likes or dislikes the music—is not a factor. . which then invariably links arousal to aggression. . . said: “Rock music is sex and you have to hit them [teenagers] in the face with it. Gene Simmons of the rock group KISS was asked on Entertainment Tonight if parents should be concerned about teens listening to their music. “Considerable evidence confirms that rock music generates or enhances sexual arousal by way of this same process. That is.”29 Richard Oldham. This state of stress is measurable in ‘driving’ brainwave activity.”30 John Taylor.
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. when due to the pace of the rhythm and loudness of the music the auditory impact nears maximal reception). . With candid frankness Simmons replied: “They should be concerned because we are into girls—that is what rock is all about—sex with a 100-megaton bomb. . without comment. excited. The Beautiful Disturber. These opioids are naturally produced opiates chemically similar to drugs like morphine. folk music). To force its activity levels down and to achieve homeostasis.”27 Here. the brain is put in a state of stress.

I have observed couples who actually undergo an imaginary sex act in their minds and bodies while dancing. . simulated orgasm is both psychologically and physiologically destructive.”33 The secretion of hormones. . We must also realize that unconscious emotion. Calvin Johansson. The capacity of the rock beat to cause a sexual response is a most important factor to be considered by those who wish to transform rock music into a fitting medium to Christian worship and evangelism. It is also sin!”34 Pleasure-oriented Church Music. results in an overstimulation of the sex glands without a normal release. correctly observes that “when the main criterion for choosing the music used in worship is pleasure. . drumming may produce these powerful effects by actually driving the brain’s electrical rhythms. The sex-related emotions generated by the vibrations in the unconscious seek expression in conscious thought and activity. g. an authority on church music who has contributed Chapters 9 and 10 to this symposium. This abnormal. . . with whom they can have fun. . but also from personal observation when I state that girls who erotically give their bodies to the frenzied gyrations accompanying rock rhythms may be undergoing a sexually climactic condition. see no problem in worshipping him by means of physically stimulating music. that means the music of
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. is influenced by many factors. . artfully used to heighten the sexual tension . because of its nature. We live in a pleasure-oriented society and many have come to expect a pleasurable. . holy. and almighty Being to be approached with awe and reverence will only use the music that elevates them spiritually.. . the deep bass sound found in rock music). Those who envision God as a special friend. caused by the abnormal stimulus of the rock beat. .The Rock Rhythm and a Christian Response
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sometimes sexual—through pronounced and insistent rhythms . On the other hand. a kind of a lover. Changing the lyrics does not eliminate the effect of the rock beat because its impact is physical. bypassing the master brain. In our culture. one of which is vibrations (e. then the music specifically crafted for that purpose becomes the logical choice. self-satisfying experience from church music. Neurosis is the direct result. musically induced. and it is a direct cause of the bodily obscenity that occurs on the dance floor. Ultimately the question is: Should church music stimulate people physically or elevate them spiritually? The answer to this question is largely dependant upon one’s understanding of the nature of God and the worship to be rendered to Him. Bob Larson points out that this is “the prelude to the release that will occur in the parked car after the dance. I speak not only from medical counsel. those who perceive God as a majestic.

musical immaturity does not produce holistic Christian maturity. This discovery. and feeling. with its melody. Once a stimulus has been able to reach the thalamus. or rap. “No matter how one might try. by whatever name. conducted experiments to determine the effect of music on the body. country rock.”39 Two German scientists. bypassing their mental processes. sensations. rock. but to contemplate God’s amazing grace: “I once was lost but now I am found. gospel. the master brain is automatically invaded. but now I see. which was made over fifty years ago and has been confirmed since then by numerous scientists. pop is the preferred music of most people. is hedonistic. heavy metal. They found that even
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. can still arouse by way of the thalamus—the relay station of all emotions. It was not long before the whole congregation was in a swinging. G. As Christians. without being first screened by the brain centers involving reason and intelligence. Rock music affects not only the physical but also the mental processes of the body. we need to be aware of the fact that music is perceived through the portion of the brain that receives stimuli for sensations and feelings.The Rock Rhythm and a Christian Response
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pop. Harrer. Before mentioning a few significant studies on the mental effects of the rock beat. Whether it be rock ‘n’ roll. I was invited to speak at a church where a rock band led out in the singing of the beloved hymn “Amazing Grace” with a heavy rock beat. and harmony has but one goal. contemporary Christian music. swing. or what one believes. Was blind.38 has contributed to the development of music therapy.”35 As our culture has become increasingly preoccupied with fulfilling personal pleasurable desires. Johansson rightly warns that “the result of using religious rock in worship is dangerous: The church service becomes a make-believe fantasy-world used to satisfy the less noble traits of the adamic nature. easy selfgratification. new wave. country. “Music.” The reason the people forgot the mood and message of the song is simply because the rock beat impacted upon their body. rhythm.”36 Religious rock music. the church is seeking to supply the religious counterpart by providing Christianized forms of rock music. dancing mood. and hedonistic music can hardly contribute to build a strong spirituality. which does not depend upon the master brain to gain entrance into the organism. Harrer and H.”37 The Effects of Rock on the Mind. let me share a personal experience. The rock beat had caused the people to forget that the original mood and message of the song invites us not to dance for fun.

reduced decision-making capacity on the job.”43 Diamond continues explaining more fully the effects of rock music on the mind. translated. This has been observed clinically hundreds of times. conducted an interesting study of the rock culture and its music. a researcher at the University of Seattle. The entire body is thrown into a state of alarm. and reorganization. Rock music can be (and is) employed for mindbending.”42 Several scientific studies have established the negative effects of rock music on the mind. “The perceptual changes that occur may well manifest themselves in children as decreased performance in school. emotional response was registered on instruments measuring changes in the pulse and breath rates. and restlessness. explains this point with considerable clarity: “The spoken word must pass through the master brain to be interpreted. introducing subtle perceptual difficulties and a host of other early manifestations of stress. including driving behavior.40 Bob Larson. and
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. and screened for moral content. and a nagging feeling that things just are not right—in short. as decreased work output. hyperactivity.The Rock Rhythm and a Christian Response
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when the attention of the listener was purposely drawn away from the music. I have also demonstrated that when the weakening beat is played. a strong. increased errors. and it is used to modify the body chemistry to make the mind susceptible to modification and indoctrination.”41 Joseph Crow. sexual behavior. as well as in the psychogalvanic (electrical) skin reflexes. reeducation. In his study of “Behavioral Kinesiology” [that is. in adults. Psychologist Jeffery Arnett found that young people who listened to metal rock “reported a higher rate of a wide range of reckless behaviors. who studied medicine before becoming a popular rock musician. He found that “Rock is a use of music based on mathematical formulae to condition the mind through calculated frequencies (vibrations). Not so with music—especially with rock music. In my practice I have found that the academic records of many school children improve considerable after they stop listening to rock music while studying. Diamond found that the weak rock beat causes “switched” thinking in the brain. movement dependent on stimulation]. symmetry between the two cerebral hemispheres is lost. the loss of energy for no apparent reason. Such pounding fury can bypass this protective screen and cause a person to make no value judgment whatsoever on what he is hearing.”44 Similar conclusions have been reached by other scientific studies on the effects of rock music on the mind. the phenomenon called switching occurs—that is. “Using the principles and techniques of Behavioral Kinesology. general inefficiency.

They were also less satisfied with their family relationships. anything contrary to the main currect of Western thought. I’ve been stoned on the music many times. for instance. . is a cult of irrationality. making her “an unwilling victim of a forced conversion. . makes this point in his song “Turn on. and reported lower self-esteem.” exemplifies the danger of exposing oneself to such music. vandalism. a reverence for the instinctual. .”46 Rock Music and Patty Hearst’s Conversion. can lead to totalitarian modes of thought and action. One of the most frightening examples of the awesome power of rock music to alter the mind is the conversion of Patty Hearst. In his book Tuning the Human Instrument. one of Britain's foremost experts on brainwashing. a scholar not opposed to rock music. acknowledges that “rock is a tool for altering consciousness. Sargant argues. sexual behavior. According to Sargant. In his book. is precisely what happened to Patty Hearst.”47 The capacity of rock music to alter the thinking process of a person like Patty Hearst. Shortly after the kidnapping. . Leary states: “Don’t listen to the words. superstittion. drug use.’ And that. . . Linked with this anti-intellectualism is an interest in the occult: magic.” which became an anthem for millions. Timothy Leary. Patty Hearst was kidnapped by the Symbionese Liberation Army. it’s the music that has its own message. the Harvard psychologist who ended up serving a Californian jail sentence for possession of marijuana. Associated with rock. Her nervous system was kept at maximum stress by the continual playing of loud rock music. The music is what will get you going. Steven Halpern warns us of this danger with these arresting words: “Rock stars are juggling fissionable material that could blow up at any time. . In February 1974. a person whose nervous system is under constant pressure can ‘inhibit’ and ‘exhibit paradoxical brain activity—bad becomes good and vice versa. Girls who liked heavy-metal music were more reckless in the areas of shoplifting. the visceral—and a distrust of reason and logic.”49
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. William Shafer. Sargant’s alarming conclusions were reported by Newsweek: “She was an unwilling victim of a ‘forced conversion’ or brainwashing. exotic religious thought. Drop out. Tune in. this form of antiintellectualism can be highly dangerous. . . Politics of Ecstasy. Patty was caught on video cameras helping the SLA robbing banks.”45 In his book Rock Music. You wonder how they converted her? William Sargant.”48 Rock musicians have long recognized the mind-altering power of their music. examined Patty Hearst.The Rock Rhythm and a Christian Response
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drug use.

described the tremendous power of rock music she experienced following her first appearance at the Avalon. not Heard. throbbing. Any monotonous. lengthy. Rock music has a unique mindaltering power because. By the end I was wild. heavy. Loss of self-control is dangerous and sinful. as Bob Larson explains with enviable clarity. so I sang louder and louder. In a state of hypnosis the mind of the listener can respond to almost any suggestion given it. a popular rock singer who committed suicide. objective observer that teenagers dancing to rock often enter hypnotic trances. evil influences can often take possession. I have never danced when I sang. loud. I couldn’t stay still. but at present rock music is the most damaging to the young contingent of Americans who are preparing to take the leadership of the country in the years ahead. When control of the mind is weakened or lost. mid-deadening beat. so vibrant. rhythmic sound induces various stages of trances. making them easy prey for the lyrics. It is not the melodic inventiveness or the chromatic arrangement of the chords that interests the average teenager. Such compulsive behavior is indicated by the rising tide of promiscuity and by the increasing rebelliousness of modern youth. a San Francisco ballroom. Bob Larson states: “The steady pounding can cause the mind to go into a state of daydreaming in which it loses touch with reality. It is performed to dull the attention of the listener.”53 The subordination of the melodic line in rock music to a pulsating. “I couldn’t believe it. because it impacts directly on the body. all that rhythm and power. but there I was moving and jumping. Rock performers try to produce a ‘sound’ with the dull. contrary to other forms of music.” 50 In Melody Maker he said: “Communication is the answer to the whole of the world’s problems and music is the key to it all because the music opens the door to everybody’s mind.”52 Rock Music Is Felt. relentless rhythm has an hypnotic effect that causes people to lose touch with reality.The Rock Rhythm and a Christian Response
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In a similar fashion. And it is this beat that is captivating so many young people. I couldn’t hear myself.” 51 Graham Nash similarly stated: “Pop music is the mass medium for conditioning the way people think.”55 There is no way to insulate the bodily responses from the pulsating and pounding power of rock music. I got stoned just feeling it like it was the best dope in the world. steady. This in turn causes the dancer or the listener to lose touch with the value system related to reality.
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. It is quite obvious to any qualified. Other types of music could be found guilty or wrong also. “it is written to be felt rather than heard. It was so sensual. crazy.”54 Janis Joplin. Mick Jagger said: “We are moving after the minds and so are most of the new groups.

It is easier. cf. Why? Calvin Johansson explains the reason with unusual insight. created after the likeness of God in true righteousness and holiness” (Eph 4:24.The Rock Rhythm and a Christian Response
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bypassing the mind. Rom 12:2).57
PART 2 A CHRISTIAN RESPONSE TO ROCK MUSIC The capacity of rock music to alter the mind and to cause several physical reactions.” She concludes: “If the essence of creative expression is to bring meaning and beauty into life. responsible decisions. including sexual arousal. discotheques. Marye Mannes is quoted by the Washington Post as saying that rock music is “the new illiteracy. It is felt that music does not reflect a moral. Then you can do your own thing. and the young love it. Col 3:10. The problem has assumed such alarming proportions that consumer activists and audiologists have proposed that local governments should enforce a 100-decibel level on rock played in clubs. Rom 12:2). the church has naively and simplistically split asunder the medium (music) and the message (text).” we “put on the new nature. whether through a Walkman. to blast the senses—to blow the mind—you don’t need training. then the sound and the fury of the new illiteracy is bent on destroying both. has become a widespread hazard. After all. Christianity entails a holistic response to God through the consecration of our mind. harmony. Eph 5:18). in Greek logike) and make moral. or concerts. and the loudest amplifying equipment you can get. and soul to Him (1 Cor 6:19. Some Christians have embraced the music of rock (or a derived version of it) while disavowing the text!”58
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. should be of great concern to Christians. 1 Thess 5:23.”56 The physical damage to the eardrums caused by the excessive volume rock is discussed at some length in Chapter 8 by Tore Sognefest. philosophical. Rock Music Largely Unchallenged. and rhythm of such songs contain no worldview. moral ethos. a manic temperament. “The reason the [rock] music has largely gone unchallenged is the subjective notion that the notes. It is easier for those who cater for them. What has been the church’s response to the challenge posed by the physical and psychological problems caused by rock music? Negligible. It is through the mind that we offer to God “a rational service” (Rom 12:1. Hence. or life outlook. because through the daily “renewal of the mind. You don’t even need talent. Scripture summons us to abstain from anything that impairs our mind (1 Pet 1:13. All you need is a boundless ego. Studies on hearing loss indicate that listening to rock. For. body. 4:7. or theological position. You don’t need knowledge. They love it because they would rather feel than think.

It is loud. value system.” In one issue. often carries a feature known as “CCM: A Sound Alternative. I am an anarchist. dance halls. Rookmaaker notes that rock music has emerged “with a thumping rhythm and shouting voices. disgusting. We have not only given nihilistic rockers a forum to peddle their wares. it alters the mind and stimulates the body through its hypnotic beat. In reality. for three major reasons. without redeeming social merit. Not only are Christian performers crossing over to the secular market. The caption reads: “If you like to listen to___ then you’ll probably enjoy___. Poison kills no matter how it is administered. the rock beat impacts on the mind and body whether the lyrics are sacred or secular. There are no laws. Second. Several Christian bands are listed as the “CCM Sound Alikes” to this aberrant group. Group. and vice versa.”62 This means that the adoption of rock music in any form represents an endorsement of the social and religious values associated with such music. but we do it for them. which calls itself The Youth Ministry Magazine. its music can hardly be an alternative because the sound is the same. There are no
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. The ethos of rock communicated through the music is supported by the text. and pantheistic religious experience. R. The name itself indicates the kind of music played by that group.” Jim Morrison declares. “Christian rock of whatever category is still rock since its message remains the same. as we have seen. now having moved from bars. and clubs to the chancel. each line and each beat full of angry insult to all Western values. By the same token.60 “I am an anti-Christ.The Rock Rhythm and a Christian Response
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Is such a split feasible? The answer is NO. the Christian band is promoting secular rock by exposing people to a modified version of it.” Johnny Rotten affirms. as Johansson puts it. There is today an unholy alliance between Christian and secular rock bands.”59 If a Christian rock band looks and sounds like the secular counterpart. the music and lyrics of rock are the product of the same worldview. This means that in whatever version rock music is heard. Group placed at the top of the list a secular rock group classified as Punk/Thrash Music.” The list gives the names of the popular. rock music makes its impact musically rather than lyrically.61 The famous art historian H. Third. Note what Newsweek had to say about the “Christian” sound-alike band: “They play the kind of music that parents love to hate. secular rock groups together with the names of the Christian bands that sound alike. but so-called Christian magazines are listing and promoting the names of the Christian groups that look and sound like their secular counterpart. An Unholy Alliance. First. “There are no rules.

2 Pet 1 and 2). it is imperative for the church to know what it is up against. because God would not tolerate their disobedience. their response was that they could not sing the Lord’s song to entertain the ungodly. A disciplined Christian lifestyle calls for the
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. the New Testament abounds with admonitions not to be “conformed to this world” (Rom 12:2. In the context of this study. Eph 6:12. Similarly. be legitimately considered a “Christian alternative”? The Christian alternative is to confront the world with the purity and power of the Gospel. When the Babylonian captors asked the Israelites to entertain them. no singing—just a relentless flood of raunchy. They understood how the cultural influence of the surrounding pagan nations had led God’s people into apostasy and they boldly called upon the people to repent. To successfully meet the challenge of secular influences like rock music. not only is the Lord’s song used to entertain the heathen. no harmonies. Today. the people responded: “How shall we sing the Lord’s song in a foreign land?” (Ps 137:4). but the heathen’s music is being employed as the Lord’s song [to entertain the Christians]. “The Israelites knew it was wrong to take that which belonged to the Lord and profane it by entertaining the unbelievers. apart from its lyrics. John admonishes us to “love not the world.”64 Knowing Our Enemy.The Rock Rhythm and a Christian Response
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melodies. embodies a spirit of rebellion against God and the moral principles He has revealed for our lives today. punched home by a steady barrage of blaring guitars and synthesized beats. we. we must understand the true nature of rock music—a music that. neither the things that are in the world” (1 John 2:15. To effectively withstand the cultural pressure of our times and retain our Christian identity. We have found that rock music itself. saying: “Sing us one of the songs of Zion!” (Ps 137:3). Reasons for Avoiding Rock Music. can alter the mind through its relentless beat. Wise playing in sports always entails knowing the strengths and weaknesses of the competitors. The fundamental reason for the church to avoid rock music in any version is its power to alter the mind. like the godly people of Bible times. must understand the perverted values and practices of our culture. as we have seen. KJV). rapped-out lyrics. not to conform to its values and practices.”63 Can this band that sounds and behaves like its secular counterpart. Note that the Israelites did not say. “Let us sing them one of our sacred songs in the Babylonian music style so that we might convert them to the Lord!” No. The Old Testament prophets knew their opposition.

Some mistakenly believe that they can worship the god of rock at the concert and the Rock of Ages at the church. Ralph Novak. Any music that has an overbearing rhythmic drive which induces excess and unrestrained bodily response pleasures self. dancing. then church music has succumbed to an infantile selfcenteredness. fleshgratifying entertainment. but pure. There are other forms of music which create moods of recklessness and sensual excitement. though with different words. The Christian commitment to Christ leaves no room for Christian artists to cross over into the secular rock scene.”65 It is unfortunate that good judgment is often lacking on the part of those who promote the adoption of rocky types of music. It gives ‘me’ a rollicking good time. may be partly responsible for those Christian artists who cross over into secular rock. When Christian singers use for their songs the methods employed by rock musicians to make the sound sensual. But it lacks the discipline necessary for maturation. Taylor offers a sensible perspective on the Christian choice of music: “There are music forms. In his book A Return to Christian Culture. The lack of spiritual maturity promoted by rock music in its various versions.”67 The Problem with “Crossover” Artists. This is an easy step to take by those performers who have already been playing the same rock music. For those who like to dance and pray at the same time. and of holy joyousness. of idealism. Most likely these people are not aware of the mental and physical impact of rock music. whether secular or sacred. When attention is riveted to fleshly response. we may be having fun. It is simply a matter of choosing whom they want to serve. He writes for People the following perceptive description of a popular crossover Christian performer: “She has made a smooth transition from a rock-tinged gospel to a gospel-tinged rock. they “do not realize or deliberately ignore the fact that this is no longer ministry.The Rock Rhythm and a Christian Response
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avoidance of mind-altering music or drugs which impairs the mental judgment. offers us a fitting example of this trend. her stuff can’t be beat. of aspiration.”66 “When hymns are so rhythmically irresistible that hand-clapping. thus favoring irresponsible behavior. Surely it does not take much judgment to know which forms are most appropriate for religious functions. but such songs are ultimately self-defeating. which create moods of pensiveness. or patty-caking is the routing response.”68
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. a music commentator. Richard S. even for Christian worship. She sounds confident and vibrant. They ignore that Christian lyrics do not neutralize the sensual effect of the rock beat. of awareness of beauty. sensual.

It is quite obvious that these groups are using models whose goals are not compatible with Christian principles. This has resulted in something akin to an obsession among many Seventh-day Adventist gospel music composers and performers to cloth all gospel music with some kind of dance beat. his mind had become confused. . Although some groups are more cautious or ‘conservative. his mental and spiritual powers benumbed. but not in a church. In my itinerant ministry around the world. producer. Such a music would have been strongly condemned in all Adventist churches thirty years ago. and songwriter of CCM. . but today some members do not see anything wrong with it. he would add “Hard rock” to the list. Ellen White writes: “By the mingling of evil with good. We must not forget that this was the strategy used by Satan to cause the Fall of man. I have been confronted on several occasions with Adventist rock bands playing the kind of music one would expect to hear in night clubs or discos. provides a stirring account of some of the churches and artists who have recently severed their connection with the CCM because they can no longer compromise their principles.
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. . At the Cross Road. It is encouraging to read about the increasing number of Christian churches and recording artists who recognize that some Contemporary Christian Music (CCM) misrepresent Christ in its sound and lyrics.The Rock Rhythm and a Christian Response
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Can a Christian engage in erotic dancing and praying at the same time? Such a mixture of good-evil is becoming increasingly common today. wrote: “The mass media has so thoroughly conditioned the masses with a diet of dance rhythmoriented music. an awardwinning recording artist. No longer could he appreciate the good that God had so freely bestowed. It is like frogs placed in water that is gradually heated. Why? Simply because their moral sensitivity has been dulled by the rock music that is blaring everywhere in our society. Lloyd Leno. country Western.’ the standard fare of many groups includes thinly disguised hybrid forms of dance styles such as waltz.”70 If Leno was alive today to observe the music scene in some Adventist churches. While some Christians are compromising by adopting modified versions of rock music. Charlie Peacock. Eventually they boil to their death without sensing the danger. and folk rock.”69 The pressure to accept the good-evil mixture is especially felt today in the field of religious music. soft rock. that anything but this seems bland and dull. Some Churches Recognize the Problem. In his book. others recognize the problem and break away from it. who prior to his untimely death served as music professor at Walla Walla University. swing (fox trot). Speaking of Adam’s Fall.

”75
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. Another performer is Rick Shorter. As a professional vocalist and guitarist. the People’s Church of Salem. message. Two of them. its entertainment. They see the surface glitter. pastor of the People’s Church and the festival director.”74 As he reflected on his former life which included acquaintances with such popular rock stars as Janis Joplin. . Pray on this. by God’s grace. ministry direction. veteran CCM recording artist Steve Camp declared to be “burdened and broken over the current state of CCM” and released an essay in poster form accompanied by 107 theses entitled “A Call for Reformation in the Contemporary Christian Music Industry. . known as “Jesus Northwest” which has drawn capacity crowds for the past 21 years. You will be greatly inspired to read how the Holy Spirit convicted his heart and led him from the addiction to rock music to the worship of the Rock of Ages. The announcement came as a surprise in the form of a letter of repentance written by Rev. Horter stated: “At first I thought I could rehash some old rock and soul songs and make them into gospel music. played in popular rock bands that performed nationally and internationally. I just wish that I could get the message across to the kids whose heads are into Rock. Randy Campbell. who was former director of the Broadway show “Hair.”72 On October 31. he felt that he could use his talents by converting old rock songs into new gospel songs.The Rock Rhythm and a Christian Response
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In November 1997. and Jim Morrison. But he decided against it. But now I realize there can be no compromise with the world—its music.” When he became a Seventh-day Adventist.”71 The letter acknowledges that much of what is done within the contemporary Christian music industry “(for example. a ministry. prior to their conversion. announced its plans to terminate the Christian music festival.”73 In the Seventh-day Adventist church we have had several successful rock performers who have abandoned altogether the rock scene after joining the church. even the message itself) is often driven by marketing—not the mind of the Lord. Louis Torres from the USA and Brian Neumann from South Africa.” He concludes his essay urging readers to “come away from an industry that has all but abandoned Christ and forge. Oregon. he gave this warning to young people: “There is absolutely nothing to that kind of life. what it was always meant to be . He wrote: “We humbly repent before the Lord and ask for forgiveness of the body of Christ for inadequately representing Christ in our ministry. or its philosophies. 1997. You can read the gripping conversion story of David Neumann in Chapter 14 of this symposium. Jimmy Hendrix. not the emptiness inside. he faced the temptation to compromise. decision-making methods. and methods.

but which I find worth considering.” The parallelism suggests that “making a melody” is equivalent to singing psalms. and rhythm. We have found that rock music reverses this order. The proper balance among these three may well correspond to the proper balance in our life among the spirit. harmony. Singing the melody (the tune) of a religious song. They explain graphically that MELODY responds to the SPIRIT HARMONY responds to the MIND RHYTHM responds to the BODY. harmony. hymns. In formulating a Christian response to rock music. This is because harmony is the intellectual part of music. expresses our joy and praise to the Lord who fills us with His Spirit. and rhythm. working. The harmony. The part of music to which the body responds is the rhythm. The word “rhythm” derives from the Greek word reo. A good sounding harmony can be arranged only by a trained musician. In their book Music in the Balance. Garlock and Woetzel perceptively suggests that “the analogy between the pulse [of the body] and the rhythm [of the music] will help any desirous Christian to gain
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. which means “to flow” or “to pulse” (John 7:38). and body. mind. that the defining characteristics of good music is the balance between three basic elements: melody.76 The part of music to which the Spirit responds is the melody.The Rock Rhythm and a Christian Response
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A Christian Response to Rock Music. Virtually anyone can produce a simple melody. and spiritual songs. or even taking a shower. Frank Garlock and Kurt Woetzel present a concept that was new to me. Christians should respond to rock music by choosing instead the good music that respects the proper balance among melody. This is suggested by Ephesians 5:18-19 where Paul admonishes believers to “be filled with the Spirit. not only in church. namely. harmonizes the melody and rhythm. but it takes extensive musical training to write and understand the various chords (parts). addressing one another in psalms and hymns and spiritual songs. as suggested by the meaning of the word. walking. The Pulse of the Heart and the Rhythm of Music. The rhythm is the pulse of the music which finds an analogical correspondence to the pulse of the heartbeat. by making rhythm its dominant element that overshadows the harmony and melody. singing and making melody. it is important to remember what we stated at the outset. The part of music to which our mind responds is the harmony. but also while driving.

.. and so does music....... sensual aspect of the body........ .”80 The same view is clearly expressed in David Tame’s book.. In his book Sound Effects. English sociologist Simon Frith emphatically states: “The sexuality of music is usually referred to in terms of its rhythm—it is the beat that commands a direct physical response. the order of priorities of the Christian life with the spiritual first. Leisure...... so in music the rhythm must be balanced for the music to be good. Body is sick Too much (or erratic) rhythm . the mental second. a medical doctor quoted earlier..... Body is dead No rhythm . as noted earlier. wrote: “Our bodies have a pulse..... The child of God who exerts most of his energies on improving the mind..’ which Dr...’ .... as in music.. Youth. to the neglect of his
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...”79 Rhythm... and the physical third.”82 As Christians we can reverse the axiom and say: “As in life. This physical.... .. In a healthy state. Music is dead Pulse under control ...... Manfred Clynes so well describes as ‘the key to the empathy we experience with a composer.... Tame often refers to what he calls “one timeless axiom ... so in life.. sensual impact of the rock rhythm is widely recognized by scholars......The Rock Rhythm and a Christian Response
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discernment in his choice of music... John Diamond..... Music is ‘well’”78 The analogy between the pulse of our body and the rhythm of music is recognized by medical doctors...... is in effect an internally conducted beat....... The phenomenon of the inner pulse ......” In other words.. .. should be reflected in the music itself.... is the physical part of music... As in the human body the pulsation of the heartbeat must be within a normal range for the body to be well...... and the Politics of Rock ‘n’ Roll. we are in touch with our ‘inner pulse..”81 Order in the Christian Life.. The problem with rock music is that the rhythm or beat dominates in order to appeal primarily to the physical and sensual aspect of human nature.. the movements of the dancers can invariably be seen to become very sensual.... .. Body is well Rhythm under control . The Secret Power of Music: “When pulsation and syncopation are the rhythmic foundation of the music at a dance hall.. so in music.... “The Christian who is preoccupied with and spends most of his efforts on the physical (the body) is sensual rather than spiritual.. Music is sick No pulse . .”77 To illustrate this concept they provide this helpful chart: “Too much (or erratic) pulse .. rock music throws the order of the Christian life out of balance...... ..... By stimulating the physical..

The Christian with a Scriptural order and balance in his life emphasizes the spiritual first (Matt 6:33). But. I myself should be disqualified” (1 Cor 9:27. some people complain that hymns are dull and boring. mental. Garlock and Woetzel develop this correlation very cogently: “Just as the spiritual considerations of life receive priority by the balanced Christian. harmony. There are plenty of traditional and contemporary hymns that respect the proper balance and reinforces our Christian values. the intellectual or emotional second (2 Cor 10:5). Could it be that the problem lies. just as the body and its desires need to be disciplined in the Christian’s life.
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. places undue emphasis on intellectual pursuits. the harmony (that part of music to which the mind and emotions respond) needs to have a supportive role in music. We need to cultivate a taste for the right kind of music that respects the proper balance among the melody. but in finding a dynamic and spiritual song leader who can inspire the congregation to sing wholeheartedly. Sometimes traditional hymns seem dull because the congregational singing is lifeless. lest. is not always a perverted appetite. and rhythm. but this does not happen overnight. so the melody (that part of music to which the spirit responds) must dominate music in the Christian’s life. The same hymn that sounds dull when sung in a monotonous way becomes vibrant and inspiring when sung with enthusiasm. The problem. when I have preached to others. Like Paul. Paul refers to this struggle when he said: “But I discipline my body and bring it into subjection. we need to discipline our body by avoiding those things that feed only our carnal nature. not with the hymns. NKJV). and most obvious. The solution to this problem is to be found not in adopting the sound of secular music. and the physical last (Rom 13:14). and physical aspects of our Christian life should be reflected in Christian music. Making Hymns Meaningful.The Rock Rhythm and a Christian Response
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spiritual and physical needs. mental.”83 The proper order among the spiritual. just as the mind and emotions play a secondary role in the Christian experience. Similarly. the rhythm (that part of music to which the body responds) must be under strict control in music. Last. Such music reinforces the proper order of the Christian life among the spiritual. however. and physical. but with the new appetite that some have developed for pop music? Could it be that such an appetite has so dulled the musical sensitivity of some people that they are no longer able to appreciate sacred music? A spiritual appetite must be developed before one can enjoy spiritual music.”84 The challenge we all face in our Christian life is to keep our body in the proper relationship to the mind and spirit.

One verse can be sung by women and another by men. and their songs fill new hymnals that can enrich the worship experience of all Christians. or to the composer of its music. To help in this process. and dedication. will be pleased to learn that during the past few decades there has been a ground-swell of hymn writing in the United States. There are endless ways of singing old hymns with new fervor and excitement. The hymn writers and hymn-tune composers of our times are men and women of talent. Britain. and want to sing new songs. Mention should be made of The Hymn Society of the United States 87 and Canada which was founded in 1922. and other countries around the 86 world. To introduce new hymns and to learn to appreciate more fully the older ones. the minister. They represent different Christian denominations. Imaginative changes in the manner of singing can make even familiar songs more interesting.The Rock Rhythm and a Christian Response
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Hymns become meaningful to the congregation when all participants—the song director. Since then. Their annual conference is held each summer in different parts of the North America and attracts hymn writers and hymn-tune composers from many countries and of different Christian denominations. attention can be called to the author of the words of the hymn. In 1999 a special Hymn Festival was organized at Andrews University to
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. of course. Some significant aspects of the hymn’s message can be brought out. This can be a time of great inspiration and joyous celebration when the importance of hymns for the life of the church and national events like Thanksgiving can be rediscovered. Those who complain that the church hymnal is old. the Society has been actively involved in promoting the composition of new hymns which are published in their periodical called The Hymn. Sometimes the song leader can invite the congregation to sing acapella. A Ground-swelling of Contemporary Hymns. a Hymn Festival can be organized. or soloist. and. singing group. the congregation—awaken to the enormous blessing which awaits them as they 85 sing from the heart with great dedication and concentration. then one can invite the congregation to sing the hymn with fresh meaning and understanding. The Hope Publishing Company deserves special commendation for encouraging hymn writers to submit their new songs for publication. the accompanist. In other instances the congregation can accompany the choir. These new collections are published each year and made available to the general public. commitment.

we saw in Chapter 4 that rock music has led to the rejection of the Christian faith and to the acceptance of a new kind of religious
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. Historically. David Tame concludes his analysis of rock music with words that fittingly express the conclusion of this present study. violence.”89 Tame is not a religious educator. homosexuality. pounding destructive beat which is heard from America and Western Europe to Africa and Asia. if it wishes long to survive.The Rock Rhythm and a Christian Response
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celebrate the last Thanksgiving of the century. among other things. Its effects upon the soul is to make nigh-impossible the true inner silence and peace necessary for the contemplation of eternal verities. a pantheistic/hedonistic worldview. “I adamantly believe that rock in all of its forms is a critical problem which our civilization must get to grips with in some genuinely effective way. and musical aspects of rock music. we found in Chapter 2 that rock music rejects the biblical transcendental view of God. It was truly a service of great beauty and gratitude for God’s unspeakable gifts of mercy. drugs. historical. and sex. but a musicologist who traces in a scholarly fashion the influence of music on man and society from the time of the ancient civilization to the present. we noted in Chapter 3 that rock music has gone through an easily discernible hardening process. promoting instead a pantheistic conception of the supernatural as an impersonal power which the individual can experience through the hypnotic rhythm of rock music.
CONCLUSION In his book The Secret Power of Music. Yet he strongly believes that rock music poses a serious threat to the very survival of our civilization. occultism. It is a global phenomenon. civil disobedience.”90 In many ways Tame’s assessment of rock music perfectly agrees with the conclusions that have emerged during the course of our investigation conducted in the last four chapters into the philosophical. and masochism. and joy to His sons and daughters. blatantly promoting. Philosophically. Its ‘fans’ are addicted. sexual perversion. and without delay. para-hypnotic effects of its insistent beat. an open rejection of the Christian faith and values. though they know it not. Religiously. a pounding.’ egocentricityenhancing. love. to the ‘feel good. religious. He wrote: “Rock has unquestionably affected the philosophy and lifestyle of millions. satanism.

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. It makes the gratification of the carnal nature more important than the cultivation of the spiritual aspect of our life. 96:9). Holiness in worship demands commitment to the highest reasonable standards of performance. By stimulating the physical.The Rock Rhythm and a Christian Response
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experience. relentless beat. harmony. . At a time when the trend is to replace sacred hymns with secular songs that stimulate people physically rather than elevating them spiritually. sex. Good and balanced music can and will contribute to keep our “spirit and soul and body . Musically. drugs. At the threshold of a new century and a new millennium. Listeners are deceived into believing that they had a spiritual encounter with the Lord. when in reality that experience was only physical excitement. The latter involves the use of rock music. and dance to transcend the limitation of time and space and to connect with the supernatural. and physical components of our beings. cf. The factual information we have gathered about the nature of rock music during the course of this investigation makes it abundantly clear that such music cannot be legitimately transformed into Christian music by changing its lyrics. loud. mental. Holiness in worship avoids the degenerate beat and crooning style of pop artists. and rhythm. The proper balance among these three reflects and fosters the order and balance in our Christian life among the spiritual. rock music throws the order of the Christian life out of balance. Holiness in worship is truly worshipping the Lord with our utmost in reverence and respect. it is well to remember that God summons us to worship Him in “the beauty of holiness” (1 Chron 16:20. Psalm 29:2. including sexual arousal. rock music is and remains a music that embodies a spirit of rebellion against God and the moral principles he has revealed for our lives. sound and blameless at the coming of our Lord Jesus Christ” (1 Thess 5:23). “Christian” rock reduces spiritual truths to a physical experience. we have shown in this chapter that rock music differs from all other forms of music because of its driving. By consciously striving for a physical impact. . Christians have an unprecedented opportunity to build upon their rich religious music heritage. In whatever version. Holiness in worship avoids repetitious trivia in sound and words. Scientific studies have shown that the rock beat can alter the mind and cause several physical reactions. sensual aspect of the human nature. Christians should respond to rock music by choosing instead good music that respects the proper balance among melody.

69. Schultze. 15. 1954). p. Jay Cannon. 11. 2. Aaron Copland. p. 38. p. should be seen as a preparation for that glorious experience in the New Earth.”
ENDNOTES 1. p. Bob Larson (note 10). Quentin J. Bob Larson. purity. 10.. p. 1991). 69. The Day Music Died (Carol Stream. 15. Brown.The Rock Rhythm and a Christian Response
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Our worship music should reflect the music we expect to sing in the fellowship of the Father and Son in the world to come. MI. and majesty of our God? Can we imagine singing our church music one day when we stand before the indescribable majesty of the triune God? Paul reminds us that “Our citizenship is in heaven” (Phil 3:20. 79. Tim Fisher.
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. Striving for Excellence (Oakbrook. and Holy Spirit honored by our music? Does our music reflect the peace. p 30. 9. 13. p. Dancing in the Dark (Grand Rapids. Are the Father. 1983). The Closing of the American Mind (New York. 10. NJ. 1992). 1976). 1972). 12. Gene Grier. Son. Allan Bloom. “How Music Produces Its Effects on the Brain and Mind. A Conceptual Approach to Rock Music (Valley Forge. p. 42. 5. IL. Tim Fisher (note 6). 46. p. Ibid. p. 1987). 151. Schultze (note 2). p. 7. p. including our music. 8. p. Tim Fisher (note 6). 40. Charles T. IL. PA. 14.” Music Therapy (New York. See Lawrence Walters. 3. p. 68. Jay Cannon (note 5). This means that every aspect of our lives. 16. Quentin J. NIV). SC. where “one pulse 92 of harmony and gladness beats throughout the vast creation. 4. 1989). 1957). 5. The Battle for Christian Music (Greenville. p. 151. The Art of Rock and Roll (Englewood Cliffs. 6. What to Listen for Music (New York.

When music is oriented toward pleasing self. Music breaks this light into a spectrum of many beautiful truths. The hedonistic bent of our culture can be seen in the increasing popularity of various forms of rock music used for church worship. contemporary religious rock music gives them a “kick”—a pleasurable sensation. Those who clamor for church music that offers personal gratification ignore the fact that they are seeking for a self-centered physical stimulation rather than a God-centered spiritual celebration of His creative and redemptive activities. During Christian history the production of music has been largely influenced by the evolution of the understanding of God. The hymns sung and the instruments played during the church service express what a church believes about God. In Chapter 2 we noted a close connection between music and theology. and to “God within us” perception from the seventeenthcentury to our times is reflected in the gradual evolution of church music from the medieval chant to the Lutheran chorale to today’s “Christian” rock. Music defines the nature of the worship experience by revealing the manner and object of worship. to the immanental conception of “God for us” during the sixteenth century reformation. By contrast. Many Christians complain that the traditional hymns of the church are dead.Chapter 6 AN ADVENTIST THEOLOGY OF CHURCH MUSIC by Samuele Bacchiocchi
The controversy over the use of pop music in the worship service is fundamentally theological. and His revelation for our present life and future destiny. -149Main Menu
. because music is like a glass prism through which God’s eternal verities shine. The historical shift from the transcendental understanding of “God beyond us” during the medieval period. because they do not appeal to them anymore. then worship reflects our culture’s elevation of people over God. His nature. because they provide easy self-gratification.

often used during the church service. of the denomination which it represents. Charlie Peacock. producer.An Adventist Theology of Church Music
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The modern manifestation of a strong immanental “God within us” conception has caused people to seek an immediate emotional experience of God through the stimulus of rhythmic and loud pop music. in general.”3 The challenge of rethinking the theological underpinning of contemporary music affects not only the CCM movement. and a theology of CCM artistry. In his thought-provoking book At the Cross Roads (1999). The problem has been recognized even by some contemporary Christian musicians.”1 He writes: “What is missing from CCM is a comprehensive theology of music. We will find ourselves stumbling blindly down the way which seems right to a man but leads to nothing but darkness. and SDA churches.” The defining characteristic of this condition is the choice of music on the basis of personal taste and cultural trends rather than on clear theological convictions.” The secret turns out to be that praising the Lord “does as much for us as it does for Him ‘Cause we get
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. that are adopting new worship styles where various forms of rock music are performed. All too often the popular songs sung during the church service are based on an inadequate or even heretical theology oriented toward self-satisfaction. in particular. “We Get Lifted Up. An example is the song. in general. we will first have to recognize the necessity of developing a comprehensive theology. Insufficient Theology. This is true not only of pop songs but also of some traditional hymns. If we willfully choose to neglect the work of building truthful theologies for our callings. Such music. reflects to a large extent the theological outlook of the congregation and. including the Seventh-day Adventist church.”2 Peacock finds that the theologies of contemporary music “often miss the mark” because they are based on personal tastes or popular demand rather than biblical teachings. “Without God’s thoughts and God’s ways. in particular.”4 which begins: “I’ve learned a little secret that you may already know. The increasing number of Christian churches. most likely. and audience. frankly acknowledges that Contemporary Christian Music (CCM) has been operating “under insufficient theology. but Christian churches. an award-winning recording artist. we will find ourselves waving good-bye to the brightness which illuminates life. we are left with our own dim and insufficient ideas. in general. suffer from a condition that may be diagnosed as “theological impoverishment. In order to begin to rethink contemporary Christian music. and songwriter of such popular songs as “Every Heartbeat” (recorded by Amy Grant). industry.

Feeling-oriented Music. The emphasis of many contemporary religious songs on “me. we get lifted up. we get lifted up. not feeling. Another example. the smallest child asks: “Psalty. “In worship . Oh.” The next song with a decidedly contemporary sound begins with all the children singing: “I’m gonna jump down / turn around / touch the ground / and praise the Lord. rather than God’s promises. but their effect on worship and life is devastating. But if the reason for worship is just to get an emotional lift. “I’m-happy-happy-happy-all-the-day.An Adventist Theology of Church Music
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lifted up. but also heretical by making one’s feeling. all right. beauty. then you can praise the Lord. I’ve got a feeling everything’s gonna be all right.’” The refrain repeats the same message: “We get lifted up.” and “I” reflects the self-centered theology which is so prevalent today. I’ve got a feeling everything’s gonna be all right. In fact. How can I praise the Lord?” Psalty replies: “Can you jump up and down? Can you get down on the ground? Can you shout with all your might. faith.” Indeed. We do not praise God simply by jumping up and down or shouting His name. ‘Praise the Lord?’ If you do that with all your heart. . then worship becomes a self-centered gratification rather than God-centered adoration. A faith practiced on the basis of feeling is no faith at all. in the popular children series Psalty. but an internal. and holiness manifested in creation and redemption. we get lifted up. worship does lift us up. heartfelt response. the basis of certainty. Praising God is not simply a matter of external exercises. all right. we get lifted up when we praise the Lord. Inadequate and misleading theology is often present also in children songs. I’m so little.” is repeated a dozen of times. opting instead for easily memorizable choruses which can be sung and danced as if one were at a party.”5 Obscure Spirituality. Such songs may be fun to sing and make us feel good. should be the frame of reference. “I’ve got a feeling everything’s gonna be all right.” The second stanza begins. In his article “Gospel Music Finds Its
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. It is amazing that many adults are content to sing simple choruses fit for children. “I used to think my praise was only meant to serve the King. For example.” but now we have discovered that praising the Lord “does as much for us as it does for Him. . Ultimately we sing about ourselves rather than about God’s glory. we get lifted up when we praise the Lord.” “my.” The false message of this song is typical of the feeling-oriented music and worship. all right. many churches have come to ignore the hymnal. produced by Maranatha Music.” Such choruses are not only trite.

”6 The self-centered theology of contemporary songs is reflected in those lyrics which contain only vague and obscure references to spiritual things. This song hardly teaches substantive spiritual values. Note the comments of a Boston newspaper reporter who reviewed one of Amy’s concerts where she sang “Who to Listen To”: “‘You want to sing. do it! Incidentally. to carry on. for example. sing out! You want to dance. husband.” The song speaks of a nebulous you. Take. from Las Vegas casino halls to evangelistic crusades “as a background song during an invitation to accept Jesus Christ as Savior.”7 The implications of this so-called Christian song is that if it feels right.” Philip Gold points out that the message of contemporary religious songs “rarely varies: I’m OK. “Who to Listen To”: Don’t take a ride from a stranger No way to know where they go You may be left on a long dark road Lost and alone Don’t you recall what your Mama told you You’ve got to learn hot from cold. dance your brain out! Tonight we celebrate!’ With those words. ’Cause you—you light up my life. And you light up my life. If it feels good. You give me hope. this song is sung in virtually any setting. because our carnal minds are at enmity with God (Rom 8:7). you’re OK. this was the nature of Eve’s temptation. It can’t be wrong when it feels so right. Another example of obscure spirituality is Amy Grant’s popular song. You light up my days and fill my nights with song. the popular contemporary Christian song “You Light Up My Life. lover. it cannot be wrong. which could easily be a reference to a boyfriend. she [Amy Grant] kicked off her own brand of revival meeting at the Worchester
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. and it’s gonna be OK.An Adventist Theology of Church Music
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Amazing Grace.” so she took it and “gave some to her husband” (Gen 3:5-6). or wife. God’s OK. The Bible warns us through examples and precepts that our feelings are not a safe moral guide for Christian conduct. Because of its nebulous theology. or possibly the Lord. It gives no biblical direction or purpose to people. She found that the forbidden fruit tasted “good.

The author is not aware of any significant study produced by Adventist scholars who examine church music in the context of the distinctive SDA beliefs. The first part examines church music in the context of the Sabbath. not only in time.’ one bouncy number. the judgment. has even figured in a ‘Miami Vice’ episode. effectively challenges believers to respect the distinction between the sacred and the secular.An Adventist Theology of Church Music
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Centrum Monday night. In fact. should fire up the imagination of members to sing with joyful anticipation and of musicians to compose new songs that can rekindle the Blessed Hope in believers’ hearts. the atonement. Specifically. she kept the spirit moving—laying down strong but gentle vocals over a blend of electronic pop that seemed better suited for a dance party than a church. the Sabbath. Christ’s ministry in the heavenly sanctuary. and preaching of the church on earth. What is presented in this chapter is a first feeble attempt to address a most important subject which has been largely ignored. many songs in the Adventist hymnal embody such distinctive beliefs as creation. The second part looks at church music in the context of Christ’s intercessory ministry in the heavenly sanctuary. Objectives of This Chapter. The chapter is divided into three parts. The third part focuses on church music in the context of the certainty and imminence of Christ’s Second Advent. as holiness in time. we consider how the three distinctive Seventh-day Adventist beliefs of the Sabbath. with the greatest band of angels this world has ever seen.”8 Music fit for “Miami Vice” is not suitable for worship in God’s sanctuary. This study proposes that the triumphant and majestic music of the heavenly choirs described in the book of Revelation. For nearly two hours. An important point made in this section is that the Sabbath. A significant point of this section is that the vision of the soon appearing of the Rock of Ages. should shine through the music. . . prayers. the Second Advent. This is especially true for the Seventh-day Adventist church. but also in such areas as church music and worship. ‘Who to Listen To. Christ’s heavenly priesthood. This chapter attempts to rethink the theological basis that should guide the choice of music used in Adventist worship services. and the world to come. . This means that
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. where the music used in the worship service should express its theological identity as a prophetic movement called to prepare a people for the sooncoming Savior. and the Second Advent should impact the choice and the performance of music during the divine service.

Norval Pease. The music and worship style of most Adventist churches is largely based on uncritical acceptance of the worship style of other denominations. The Sabbath Offers Reasons for Worship. Each of these beliefs helps to define the nature of Adventist worship and music.
Part I CHURCH MUSIC IN THE CONTEXT OF THE SABBATH The Seventh-day Adventist church draws inspiration for her music and worship from three major doctrines: (1) the Sabbath. Unfortunately. In his book And Worship Him. and we must approach worship as Adventists. Of the three major biblical doctrines that identify the Seventh-day Adventist church. the ongoing debate over the use of pop music in Adventist worship largely ignores the theological presuppositions that should undergird the worship experience of Adventist believers. The prophetic mission and message of the church should be reflected in her music and worship style. including music. or Presbyterians may be unsatisfactory for us. Some Adventist worship leaders are pushing for the adoption of pop music in Adventist worship services strictly on the basis of personal taste and cultural considerations. states: “We are Adventists.An Adventist Theology of Church Music
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the theological reflections presented in this chapter represent an initial attempt to lay a foundation upon which competent Adventist scholars hopefully will build upon in the future. but in a re-examination of how our distinctive Adventist beliefs should impact the various parts of the church service.”9 The answer to the Adventist worship renewal is not found in the adoption of religious rock music. A worship service that meets the needs of Methodists. But the music and worship style of the Adventist church cannot be based solely on subjective tastes or popular trends. and (3) the certainty and imminence of Christ’s return. the Sabbath occupies a unique place because it provides the basis for the true worship of God. (2) Christ’s atoning sacrifice and His ministry in the heavenly sanctuary. my former professor of worship at the Andrews University Seventh-day Adventist Theological Seminary. Such a basis is to be found in the three fundamental truths that the Sabbath
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. Such an ambitious undertaking is beyond the limited scope of this chapter which focuses primarily on the music aspect of the worship service. Episcopalians.

the last book of the Bible. The Conflict Between True and False Worship. and playing the lute. and to acknowledge God’s care and power (Ps 92:12-15). Similarly. it would be hard to find reasons to praise God with songs. On the Sabbath. The Sabbath worship service is an occasion for believers to celebrate and rejoice over the magnitude of God’s achievements: His wonderful creation. the music and the worship experience reach the fullest expression. In Revelation. singing praises. on one hand. 35:2). and the lyre (Ps 92:3). which occurs in the first book of the Bible. which is “A Song for the Sabbath. To worship means to acknowledge and praise the worthiness of God. to renounce the perverted system of worship proMain Menu
. and His manifold manifestations of constant love and care. the summon is renewed through the imagery of three flying angels. the harp. and He will restore us ultimately. we need to note that in a sense the Bible is the story of the conflict between true and false worship. The reader is referred to these studies for an exposition of the theology of the Sabbath. To appreciate the importance of Sabbath worship. to praise the great works of His creation (Ps 92:4-5). His successful redemption of His people. is reiterated in different forms in all subsequent books. These angels call upon “every nation and tribe and tongue and people” (Rev 14:6). of which music is a major component. however. These three fundamental meanings of the Sabbath are examined at great length in my two books Divine Rest for Human Restlessness and The Sabbath Under Crossfire.” Here the believers are invited to celebrate the Sabbath by giving thanks. Would God be worthy of praise if He had not originally created this world and all its creatures perfectly and made provision for their ultimate restoration? No one praises a manufacturer that produced a car with mechanical problems without taking responsibility for repairing them. He has redeemed us completely.An Adventist Theology of Church Music
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contains and proclaims: namely. God’s summon to “put away the foreign gods” (Gen. Some of these themes appear in Psalm 92. because the day provides both the time and the reasons for joyfully and gratefully celebrating God’s creative and redemptive love. prayers. The Celebration of God’s goodness and mercy constitutes the basis for all the music and worship offered to God on any day of the week. and sermons if He had not created us perfectly and redeemed us completely. that the Lord has created us perfectly. The purpose of this joyful celebration is to declare God’s steadfast love and faithfulness (Ps 92:2). These are fundamental themes that should inspire the composition and the singing of hymns of praise to God.

” and to “worship him who made heaven and earth. disco.An Adventist Theology of Church Music
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moted by “Babylon. Soon the whole world will be gathered for the final showdown in the antitypical. countrywestern. and shall be no more.? Could it be that many Christians will come to love this kind of gospel song because it sounds very much like the music of Babylon? The summon of the Three Angels’ Message to come out of spiritual Babylon. The eclectic music produced by “the sound of the horn. which describes an event of prophetic endtime significance. Satan is using today “every kind of music” to lead the world into the endtime false worship of the “beast and its image” (Rev 14:9)? Could it be that a Satanic stroke of genius will write gospel songs that will have the marking of every taste of music: folk music. apocalyptic Plain of Dura and “every kind of music” will be played to lead the inhabitants of the earth to “worship the beast and its image” (Rev 14:9). jazz. as with ancient Babylon. We noted in chapter 4 that the apocalyptic imagery of the false worship promoted by Babylon is derived from the historical chapter of Daniel 3. and the sound of harpers and minstrels. served to induce the people “to fall down and worship the image” (Dan 3:15). when the Lord shall come to gather the believers and punish the unbelievers. calypso. This solemn call to abandon the false worship of Babylon and to restore the true worship of God is presented in Revelation 14 as part of the preparation for “the harvest of the earth” (Rev 14:15). rap. of flute players and trumpeters shall be heard in thee no more” (Rev 18:21-22). all the inhabitants of the Babylonian empire were called to worship the golden image of King Nebuchadnezzar. by rejecting its false worship. A fiery furnace was prepared for those who refused to do homage to the golden image.
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. Twice Daniel mentions that “every kind of music” (Dan 3:7. Could it be that. the sea and the fountains of water” (Rev 14:7). etc.10) was used to cause all classes of people from all the provinces of the empire to corporately worship the golden image (Dan 3:10). could also well include the rejection of the music of Babylon.” and other instruments. The Music of Babylon. bagpipe. for the hour of his judgment has come. rock. This preparation entails the abandonment of the false worship promoted by Babylon and the restoration of the true worship by God’s people. trigon. lyre. and on the other hand to “fear God and give him glory. The use of music to promote the end-time false worship is suggested by the description of the final overthrow of Babylon: “So shall Babylon the great city be thrown down with violence. On the Plain of Dura. harp. pipe.” “the beast and its image” (Rev 14:8-11).

power (Rev 13:8. the timbre of the harp blends harmoniously with the collective human voices. because it calls upon people to worship Him who in six days “made heaven and the earth. incessant beat. By focusing on God’s creative and redemptive accomplishments. Titus 3:3). self-satisfying. An Antidote Against False Worship.An Adventist Theology of Church Music
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The final silencing of the musicians of Babylon suggests that their music plays an active role in promoting false worship. The Sabbath is a most effective means to promote the restoration of true worship. The only instrument used to accompany the heavenly choirs is the harp ensemble. People have become so attuned to amusement that they also expect church music to be entertaining. By contrast. It is instructive to note the contrast between the music of Babylon. The reason. is to stimulate people physically through the loud. which inspires the redeemed to sing their hearts out. the sea and the fountains of water” (Rev 14:7). The temptation to worship human realities such as money (Matt 6:24). This is the music that the Lord ultimately will silence at the overthrow of apocalyptic Babylon. as we have seen in earlier chapters. but by the marvelous revelation of God’s redemptive accomplishments. The use of other instruments would overshadow the singing. The apocalyptic description of the music of Babylon reminds us of the instruments used by rock bands. which is primarily vocal. is to promote the true worship of “him who made heaven and earth. Their music is so loud that the lyrics can hardly be heard. Today the problem is particularly acute. No flutes or trumpets accompany them. and the music of the heavenly choirs. It challenges men and women to worship not their human achievements and pleasures. and stimulating. Why? As we shall see. the Sabbath functions as an antidote against false worship. because the triumph of modern science and the hedonistic bent of our culture have led many people to worship personal profit and pleasure rather than God’s power and presence. The pleasure syndrome of our time can be seen in the church’s worship practice. the triumphant music of eternity is driven. as portrayed effectively by the three apocalyptic angels. Col 3:5). and pleasure (Rom 6:19. which is primarily instrumental. and all that is in them” (Ex 20:11). The mission of the church at this time. To this point we shall return shortly. the sea. with minstrels (professional entertainers). but their Creator and Redeemer. The Sabbath can serve as an antidote against the search for pleasure in worship by
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. not by the hypnotic beat of percussion instruments. has been present in every age.

Ezek 20:12). so the believer who keeps it is constantly invited to stand as God’s chosen holy person among a secularly minded and perverse generation. In Western Europe. or other places of entertainment. but also in such areas as church music and worship. is the “setting aside” of the twenty-four hours of the seventh day to culvitate the awareness of God’s presence in our lives. cf. God’s absence makes their worship experience not an adoration but an “abomination” or a “trampling of my courts” (Is 1:12-13). Ex 20:11. 31:14. pictures God as refusing to be present at the Sabbath assembly of His people. for example. Holy Day calls for a holy people. as the Bible puts it. restaurants. The vast majority of Christians choose to spend their Lord’s Day seeking personal pleasure and profit. Holiness in Time as Holiness in Church Music. the Lord. The distinction between the sacred and the secular. but in God’s commitment to manifest in a special way His holy presence through the Sabbath day in the life of His people. less than ten percent of Catholics and Protestants go to church on Sunday. Even in America. not only in time. the same Christians who on Sunday morning go to church. in the afternoon will most likely go to the shopping mall. ball games. that you may know that I. which is embedded in the Sabbath commandment. is foreign to those Christians who view their Lord’s Day as a holiday rather than a Holy Day. As the Sabbath stands as the Holy Day among the weekly days. Sabbathkeeping serves as “a sign between me and you throughout your generations. the Sabbath effectively challenges believers to respect the distinction between the sacred and the secular. After all. Is 58:13). As holiness in time. but to delight in the goodness of His creative and redemptive love. the Sabbath can constantly and effectively remind believers of their special divine election and mission in this world. The holiness of the Sabbath is to be found. Ex 16:22. because of their “iniquity” (Is 1:13-14).
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. T h e fundamental meaning of the holiness [Hebrew qadosh] of the Sabbath. where church attendance runs close to fifty percent. not in the structure of the day which is the same as the rest of the weekdays.An Adventist Theology of Church Music
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reminding believers that God invites them on His Holy day to come into His sanctuary. Isaiah. It is the manifestation of God’s presence that makes time or space holy. sanctify you” (Ex 31:13. The Mixing of the Sacred with the Secular. As the symbol of God’s free choice of His special time to manifest His holy presence. In other words. music and worship constitute an important aspect of the observance of the Sabbath. which is frequently affirmed in the Scriptures (Gen 2:3. not to seek for their “own pleasures” (Is 58:13).

good and bad. regardless of their conflicting perspectives. on what many Christians view as their Lord’s Day. The adoption of modified versions of rock music for church worship is symptomatic of a larger problem. Marriage is viewed a civil contract that can be easily terminated through the legal process rather than a sacred covenant witnessed and guaranteed by God Himself. namely. For many people. such as music. Right and wrong are reduced to mere opinion. non-negotiable doctrinal beliefs which are passionately defended by evangelical Christians.” The Sabbath challenges believers to close the door to the humanistic pressure of cultural relativism by reminding them that the distinction between the sacred and the secular extends to all the facets of Christian life. has gradually blurred the distinction between sacred and secular. 10 Truth is not fixed but changeable. no real worship is offered to God. church music is often influenced by the secular rock beat. a wide crack in the Christian door. This is one area where naturalistic humanists find. relative to the whims which define it. the loss of the sense of the sacred in our society. Ultimately. The process of secularization. “I like rock.An Adventist Theology of Church Music
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The mixing of sacred with secular activities.” The cultural relativism of our time has influenced the church especially in the field of aesthetics. For many. including church music and worship. facilitates the mixing of sacred with secular music in church worship itself. one is as good as the other. The church is treated as a social center for entertainment. Using secular music for the church service on the Sabbath is to treat the Sabbath as a secular day and the church as a secular place. Dale Jorgensen correctly observes that “The same preacher who believes that he is obligated to preach objective righteousness in morality. you like classical—so what?” One is supposed to be as good as the other. there is no longer a distinction between sacred and secular music. The subjectivism in the field of aestetic stands in stark contrast to the objective. which has reached new heights in our time. rather than a sacred place for worship. are equally valid. rather than by the sacred Scriptures. By the same token. because
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. often implies that ‘anything goes’ in the music of the church. It is simply a matter of taste and culture. The common contributory factor is the loss of the sense of the sacred—a loss which affects many aspects of the Christian life today. which has become but a matter of personal preference. Cultural Relativism. “All values and value systems. nothing is sacred anymore. perhaps with good rea11 son. The preaching draws its inspiration from social issues rather than the Sacred Word. right and wrong.

Seventh-day Adventist worship centers not only on these past redemptive accomplishments of our Savior. the purpose of the church. and narrow point of view. and the Second Advent— share a common denominator. and future—are involved in Adventist worship. When Adventists assemble for worship.An Adventist Theology of Church Music
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true worship entails recognizing the boundaries between what is sacred for God’s use and what is secular for our personal use. one who is seated at the right hand of the throne of the Majesty in heaven. the Sanctuary. On the Sabbath we meet the invisible Lord in time. in place in His holy Sanctuary. Raymond Holmes wrote: “In our [Adventist] worship we enter the heavenly sanctuary by faith and are able to see the world. namely. but also on His present ministry in the heavenly sanctuary and on His future coming to bring to consummation His redemption. In his book Sing a New Song! Worship Renewal for Adventists Today. all three dimensions of Christ’s ministry—past. not only at Calvary on the Cross. and in space on the glorious day of His coming should constitute the focal points of Adventist worship. but also at the throne of God in heaven itself. meeting with the Lord. their desire should be to meet the Lord. In the Heavenly Sanctuary we encounter by faith the ministering Savior in place. self-centered. Meeting with the Lord in time on His Sabbath day. where He ministers on their behalf.
Part 2 CHURCH MUSIC IN THE CONTEXT OF THE HEAVENLY SANCTUARY For many Christian churches. the ministry of our Lord. present. worship service centers on what Christ has already accomplished in the past through His perfect life. and our own lives from God’s all-encompassing perspective and not just from our own limited. Meeting with the Lord. Thus. “We have such a high priest. By faith they should wish to meet the Lord. where He paid the penalty of their sins. and glorious resurrection. By contrast. atoning death. It is noteworthy that the three distinctive Adventist doctrines—the Sabbath.”12 The focus of Adventist worship should be on the heavenly sanctuary where Jesus continually ministers in the heavenly liturgy on behalf of His people. a minister in the sanctuary and the true
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. At the Second Advent we shall be reunited with the visible Lord in space.

The church on earth joins heavenly beings in praising Christ: “Let us continually offer up a sacrifice of praise to God. It is because we have such a High Priest ministering in heaven that Hebrews says: “Let us then with confidence draw near to the throne of grace. 19:1-9. 5:911. that we may receive mercy and find grace to help in time of need” (Heb 4:16). 18:22-23. As Richard Paquier suggests. the heavenly Jerusalem. and 22:20). 11:17-18. Oscar Cullman has identified six hymns (Rev 5:9. and 15:4b). 15:3. The invitation to “draw near to the throne of grace” is obviously an invitation to worship by offering to our Lord our prayers. Church Worship to Reflect Heavenly Worship. 5:12-13. The Worship of the Heavenly Sanctuary. 7:10. and songs. 12:10-11. prayers. and to the innumerable angels in festal gatherings. To catch a glimpse of the majestic worship conducted in the heavenly sanctuary. 12:10-12. Hebrews invites believers to “come to Mount Zion and to the city of the living God.15 Forrester Church and Terrance Mulry identify eleven hymns in Revelation (Rev 1:5-8.An Adventist Theology of Church Music
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tent which is set up not by man but by the Lord” (Heb 8:1-2). praises. What a challenge for the church of the last days to let the glory and majesty of the heavenly worship shine through its music. The vision of the Lord’s glory and majesty provides all the dramatic ingredients believers could ever wish for an exciting worship experience. drama. “something of the royal majesty and glory of the risen One who ascended to heaven has to come through in the worship of the church. or dance to revitilize church worship. 4:11. the fruit of lips that acknowledge his name” (Heb 13:15). The music and worship of the church on earth should draw its inspiration from the music and worship of the heavenly sanctuary. that is. Scholars who have studied the music of Revelation have come up with different numbers of hymn texts in the book. 5:9. 12:10-12. 22:16-17. and preaching. and to the assembly of the first born who are enrolled in heaven” (Heb 12:22-23). and 19:6). because the two are united by the worship of the same Creator and Redeemer. 19:1-2. 11:17-18.16
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. 15:3-4. 5:13. there will be no need to experiment with religious rock. 5:12.”13 When glimpses of the majesty and glory of the risen Savior and heavenly High Priest come through the music and worship of the church.14 while Michael Harris enumerates seven (Rev 4:8-11. we turn to the book of Revelation where we find the largest number of choral ensembles to be found anywhere in the Bible.

‘Salvation belongs to our God who sits upon the throne. and (3) the all-inclusive ensemble of every creature in heaven and earth (Rev 5:13). In his dissertation. and for destroying the destroyers of the earth” (Rev 11:17-18. 19:6-8). and thou made them a kingdom and priests to our God. 14:2-3. and behold. both small and great. “The chorus of the 24 elders appears to lead the larger choirs as the action in the text builds in a
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. the twety-four elders sing before God about the vindication of the redeemed and the inauguration of the eternal kingdom: “We give thanks to thee. from every nation.An Adventist Theology of Church Music
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The exact number of hymns and choruses performed in Revelation is less important than their witness to the important role that music plays in the eschatological worship of God in the heavenly sanctuary. The three major choirs that participate in the heavenly worship are (1) the 24 elders (Rev 4:10-11. and those who fear thy name. and to the Lamb!’” (Rev 7:9-10). Then they sing before the Lamb a hymn accompanied by harps about His redemptive accomplishments: “Worthy art thou to take the scroll and to open its seals. from the praising of God’s creation to that of Christ’s redemption and the final vindication of His people. Lord God Almighty. One notices a thematic progression in the hymns of the 24 elders. 5:8-9. (2) the countless multitude of angels and redeemed (Rev 5:11-12. who art and who wast. 19:1-3. cf. 7:9-12. 19:4). The nations raged. 11:16-18. our Lord and God. a great multitude which no man could number. standing before the throne and before the Lamb. Similar ascriptions of praises are found in the hymns sung by the countless multitude of angels (Rev 5:11-12) and by the redeemed (Rev 7:9-12. for thou wast slain and by thy blood didst ransom men for God from every tribe and tongue and people and nation. and by thy will they existed and were created” (Rev 4:10-11). The text of the hymns is very instructive. and crying out with a loud voice. “After this I looked. 14:2-3. published under the title A Theology of Music for Worship Derived from the Book of Revelation. to receive glory and honor and power. Thomas Allen Seel finds a crescendo in the participation of the heavenly choirs. and the time for the dead to be judged. and they shall reign on earth” (Rev 5:9-10). The chorus of the 24 elders sings first before God’s throne a hymn about His creative power: “Worthy art thou. for thou didst create all things. Finally. 6-8). 19:1-3. the prophets and saints. 19:4). but thy wrath came. from all tribes and peoples and tongues. clothed in white robes. that thou has taken thy great power and begun to reign. for rewarding thy servants. with palm branches in their hands.

not by the hypnotic beat of percussion instruments. including the Redeemed. but by the marvelous revelation of God’s redemptive accomplishments for His people. they sing with dramatic excitement in their doxological praise of the Godhead.An Adventist Theology of Church Music
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mighty crescendo of participation and sound. There is something wrong about a theology which does not create a triumphant music. Worship in the Apocalypse is ‘genuinely congregational’ and inclusively unites variegated levels of creation into a sea of doxological praise to the Godhead. is that “the distinctive timbre of the harp in worship blends harmoniously with the worshippers’ collective voices. The reason.”19 The triumphant music of Revelation is inspired. The instrumental ensemble contains a singular type of instrument [the harp] which blends with the voice. and culminates when these antiphonal forces participate in a joined response with the remainder of creation. the Lamb that was slain. . it initiates with the chorus of the 24 elders singing. The justification of glorious Christian music in the world is always justification by faith . and rhythmic guitars to give a rocky beat to their church music. As The Interpreter’s Bible comments: “The music of eternity [in Revelation] sends its triumphant joy back into the life of time. no percussion instruments were allowed. Worship leaders.”18 Triumphant Music Without Beat. the book still may prove to be one of the happiest compositions ever written. has ransomed people of every nation. bass guitars. nor does it contain a mixture of diverse instruments. You can judge an interpretation of the Christian religion by its capacity to set men singing. A careful study of the various hymns of Revelation reveals that in spite of all the references to the suffering of God’s people. The only instrument used by the heavenly choirs is a harp ensemble (Rev 5:8.”20
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. “They respond in an orderly and balanced manner which witnesses the totally complete. As the worshippers of the heavenly sanctuary are privileged to review the providential way in which Christ. . The writings of Paul also have this characteristic of bursting into song. It should be noted that the instrumental support does not supplant the importance of the words of the text. as Thomas Seel explains. followed by an antiphonal response of the creatures of heaven. should notice that both in the Jerusalem Temple and in the heavenly sanctuary. uncompromising unity of all of the Godhead’s creation. Together they corporately direct their praise to the Godhead. . who are urging the use of an array of drums.”17 The dynamics of the antiphonal and responsorial responses of the various groups reveal an amazing unity. 14:2).

John Kleinig notes: “David determined the particular combination of instruments to be used in worship. the lyre and harps (both string instruments that blended with human voices). and harps (1 Chron 15:16. for the commandment was from the Lord through his prophets. 16:5-6). The distinction between sacred and secular music which is present in the heavenly sanctuary was also evident in the Jerusalem Temple. “Contrary to common opinion. Of the four.” By appealing to the prophetic directives of Gad and Nathan.An Adventist Theology of Church Music
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No Secular Music Allowed in the Temple. such as when the congregation was to prostrate or the choir was to sing during the presentation of burnt offerings (2 Chron 29:27-29). harps. harps and lyres. It is evident that there was no possibility for any Jew who could play an instrument to be invited to join the Temple rock band and turn the service into a music festival.” The reason is that the music in ancient Israel. it explicitly states that king Hezekiah “stationed the Levites in the house of the Lord with cymbals. according to the commandment of David and Gad the king’s seer and of Nathan the prophet. In his doctoral dissertation presented at Cambridge University and published under the title The Lord’s Song: The Basis. The trumpets were used only to give various signals.” Sacred Music for a Sacred Place. The cymbals were used to announce the beginning of a song or of a new stanza. Those who believe that the Bible gives them the license to play any instrument and music in church. They played only four instruments at specific times during the service: the trumpets. like the place of the musicians in the temple. ignore the fact that the music at the Temple was not based on personal taste or
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. only the last two. but on a commandment “from the Lord. To the trumpets which the Lord had ordained through Moses. as Anthony Sendrey has shown. The importance of this combination is emphasized by the insistence in 2 Chronicles 29:25 that the instruments for sacred song. and lyres to the use of the trumpet (Num 10:2) was not based on the king’s personal taste. 16:5-6). were used to accompany the singing. 23 was this divine command which gave them It their significance and power. lyres.” we shall see that only a selected group of Levites made up the Temple choir. he added the cymbals. In the next chapter on “Biblical Principles of Music. Function and Significance of Choral Music in Chronicles. the author of Chronicles emphasizes the fact that David’s addition of the cymbals. cymbals. lacked a regular beat and a 22 metrical structure. had been instituted at the Lord’s command. lyres. the cymbals were not used by the precantor to conduct the singing 21 by beating out the rhythm of the song. and harps (1 Chron 15:16.” In 2 Chronicles 29:25.

toph. The reason they were excluded from the Temple’s orchestra is simply because they were commonly used for entertainment. flutes. pipes. because of their association with secular entertainment. because both are sacred institutions established for the worship of God. Garen Wolf points out that “the use of tabret. and dancing by women or men had no connection with worship in the Temple. In his book Music of the Bible in Christian Perspective. like the modern tambourines. their music consisted mostly of dancing with timbrels—a music that was unfit for sacred worship. timbrel. Women’s dancing in the Bible was usually accompanied by the playing of timbrels. the Israelites would have been tempted to turn the Temple into a place of entertainment. where God manifested his presence “among the people of Israel” (Ex 29:45. 25:8). demanded that no music or instruments associated with secular life be used in the Temple.” Keeping the Sabbath is equated with reverence in God’s sanctuary.” Music was rigidly controlled in the Temple worship to ensure that it would be in harmony with the sacredness of the place. cf. instruments and music associated with entertainment were excluded from the Temple. made up of a wooden frame on which a single skin was stretched. as shown in the next chapter on “Biblical Principles of Music. so the Temple was a holy place. This is indicated by the fact that other instruments like timbrels. This principle was respected also in the synagogue and early church. This exclusion extended to the participation of women in the music ministry of the Temple. The connection between the Sabbath and the sanctuary is clearly affirmed in Leviticus 19:30: “You shall keep my Sabbaths and reverence my sanctuary: I am the Lord. and dulcimers could not be used in the Temple. Just as the Sabbath is a holy day. Respect for God’s holy day and holy place of worship. Had the instruments and the music associated with dancing been used in the Temple.An Adventist Theology of Church Music
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cultural preferences. because.” It is evident that nothing is morally wrong with the use of instruments like the timbrel or flutes. This means that secular music that is inappropriate for the Sabbath is also inappropriate for the church. and vice versa. Why? Simply because God has set aside both of them for the manifestation of His holy presence. ecstacy and secular entertainment or for religious music mak24 ing outside the Temple. which seem to have been hand drums. but rather for the purpose of show. To prevent this thing from happening. as we shall see in the next chapter.
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it is the harps’ instrumental ensemble that accompanies the singing of the choirs. Time and again we are told in Revelation that heavenly beings “fell down and worshipped Him” (Rev 4:10. In the next chapter. when the adoption of pop music for worship is becoming the “in” thing to do. Last. church music should be reverential. This means that percussion instruments and entertainment music which stimulate people physically are out of place in the church service. A balance must exist between the emotional and intellectual sides of life in religion and worship. saying “Amen. the music of both the earthly and heavenly Temples teaches us that instrumental accompaniments are to be used to aid the vocal response to God and not to drown the singing. rhythmic music that drowns the sound of the lyrics is inappropriate for church worship. Out of respect for the presence of God. we shall see that the same was true in the worship service of the synagogue and the early church. 23 of which occur in Revelation. 7:10) and express their emotions. they imply the honor and respect demonstrated toward a superior. They sing with a “loud voice” (Rev 5:12. church music should respect and reflect the sacredness of the place of worship. in tune with the sacred nature of worship. Four major lessons can be drawn from the music performed at the Jerusalem Temple as well as in the heavenly sanctuary. reasoned. without supplanting it. only one of them is used in Revelation. because the harp’s sound blends well with the human voice. feeling approach to composition. “Musical expression in worship must have an emotional and intellectual aspect because that is the nature of man.” When combined. which is commonly translated “to worship” or “to prostrate. 15:4. The singing of the various choirs in Revelation is heartfelt and expressive. and the nature of religion. At its best.An Adventist Theology of Church Music
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Lessons from the Temple’s Music. It is significant that of the eight words used in the New Testament to express a worship response to God. nor is it used in the liturgy of the heavenly sanctuary. church music should express the delight and the joy of being in the presence of the Lord. 7:11. Hallelujah” (Rev 19:4).26 It is the Greek word prokuneo. 19:4). Third. This means that any loud. music should demonstrate this life-religion-music unity in worship by a well-proportioned.” The term appears 58 times in the New Testament. 11:17. In Revelation. This consistent witness of scripture and history should serve as a warning to the church today. 5:14. such music was not allowed in the Temple services.27 The term prokuneo is compound of two roots: pros meaning “toward” and kuneo meaning “to kiss. First.”25 Reverence in God’s Sanctuary.
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. the nature of music. Second.

Both in the Jerusalem Temple and in the heavenly sanctuary. characterized by feverish excitement. People who say such things show that they are looking for a country of their own. first and foremost. The same attitude should be manifested in our worship today. they would have had opportunity to return. awe. Sacred music can help to quiet our hearts and souls so that we can more clearly recognize who our God really is and respond to Him in reverence. “They admitted that they were aliens and strangers on earth. a journey to a better land. Today we live in a world of feverish activity. God is holy and we worship Him with deep respect. God is worshipped with great reverence and respect. and close familiarity. Therefore God is not ashamed to be called their God. The reason could be the need to warn the end-time generation not to be misled by the false worship of Babylon. This is reflected also in some of the contemporary pop music that treats God with frivolity and irreverence. to live looking forward to the glorious day of Christ’s coming. with no permanent home on this earth. To live with this forward look means to view our present life as a pilgrimage. forgetting what lies behind and straining forward to what lies ahead. If they had been thinking of the country they had left. Peter urges this forward look: “Set your hope fully upon the grace that is coming to you at the revelation of Jesus Christ” (1 Pet 1:13).An Adventist Theology of Church Music
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It is significant that John the Revelator uses only prokuneo to describe the reverential worship of end times. they were longing for a better country—a heavenly one. because God does not change. Pilgrim’s Outlook. Paul eloquently expresses this forward look: “One thing I do. and affection. To be an Adventist Christian means. The worship in the earthly and heavenly Temples teaches us that we need to bow in humility before our great God. The writer of Hebrews notes that Abraham and all past true believers were pilgrims.
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. Instead. for he has prepared a city for them” (Heb 11:13-16. NIV). constant entertainment. I press on toward the goal for the prize of the upward call of God in Christ Jesus” (Phil 3:13-14).
Part 3 CHURCH MUSIC IN THE CONTEXT OF THE SECOND ADVENT The belief in the certainty and imminence of Christ’s return is the driving force of the Adventist church worship and lifestyle.

and all the more as you see the Day drawing near” (Heb 10:24-25). the heavenly Jerusalem. including our churches. We must build for the future while recognizing that the future does not belong by right to what we build.” Many Christians have come to view this world as the “living room” in which to live as though Christ may never come. It challenges us to recognize that when Jesus comes. but encouraging one another. and the witness of and fellowship with other members can give us a foretaste of the future heavenly Jerusalem and the festal gathering of God’s children. the proclamation.An Adventist Theology of Church Music
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Someone has said that twentieth-century Christians are “the bestdisguised set of pilgrims this world has ever seen. all of our human institutions. Through worship we break through the barriers of time and space and experience a foretaste of the blessedness of the future heavenly worship that awaits us at the glorious coming of the Lord. The writer of Hebrews speaks of this vital function of worship: “You have come to Mount Zion and to the city of the living God. The nearer we draw to the return of Christ. as is the habit of some. will come to an end. The forward look to the future Kingdom of God challenges us not to invest present religious or political institutions with permanent value and functions because they are not the method by which the Kingdom of God is to be established. The expectancy of Christ’s coming gives a sense of urgency to the Adventist church worship. rather than the “waiting room” to the world to come. The ultimate effect of living with a forward look is to view all our institutions and personal decisions in the light of the Advent of our Lord.28 The need to assemble together for worship and mutual encouragement is presented in this passage as all the more pressing as the Day of Christ’s Coming draws near. Worship in Anticipation. Communal worship with believers enables us to temporarily forget and transcend the unpleasant realities of this present life and to catch a glimpse of the blessedness of the world to come. the prayers. Such an experience nourishes and strengthens the Advent Hope in our hearts by giving us a vision and a foretaste of the glories of the Second Advent. The expectancy of Christ’s soon coming gives a special texture to Adventist worship and music. and to the assembly of the first-born who are enrolled in heaven” (Heb 12:22-23). The music. the more intense will be Satan’s efforts to undermine the work of God in our lives and
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. and to innumerable angels in festal gathering. not neglecting to meet together. Hebrews admonishes believers “to stir up one another to love and good works.

as we stand at the threshold of the Lord’s return and “see the Day drawing near” (Heb 10:25). believers rehearse the day when they will see Jesus and speak with Him face to face.An Adventist Theology of Church Music
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in this world. and shout. for the devil has come down to you in great wrath.” “We have this hope that burns within our hearts” captures in a marvelous way the belief that the “time is here.29 They far outnumber the hymns about any other subject. Through hymn singing. loud. the appearing of the glory of our great God and Savior Jesus Christ” (Titus 2:13). The inspiration and encouragement we receive from worshiping together with fellow believers can help us to hold fast to our faith and hope in the sooncoming Savior. [while] awaiting our blessed hope. and godly lives in this world. “Face to face shall I behold Him. Face to face in all His glory I shall see Him by and by. we see the gleams of the golden morning Piercing through the night of gloom” envisions the excitement at the appearing of the Lord in the golden sky. To reach the younger generation is a formidable task. including the 18 hymns about the Sabbath. Far beyond the starry sky. rhythmic. For example. because in many cases their
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. “O Lord Jesus. and sing. The glorious vision of Christ’s return has inspired the composition of many faith-instilling hymns that have enriched church life and worship through the centuries. upright. I’ll be there” enthusiastically reaffirms the commitment to be ready for the day “When the trumpet of the Lord shall sound. O earth and sea. When the nations far and near Shall awake. Advent Music. “Lift up the trumpet and loud let it ring” challenges believers to boldly proclaim that “Jesus is coming again.” It is not surprising that the new Seventh-day Adventist Church Hymnal has 34 hymns about the Second Advent.” “When the roll is called up yonder. the Blessed Hope should inspire the composition of new songs that can rekindle the flame and encourage believers “to live sober. and time shall be no more. Church music plays a vital role in strengthening the faith and nourishing the hope of Christ’s coming. because he knows that his time is short!” (Rev 12:12). how long. electronically amplified sounds and uninhibited lyrics of rock music.30 The music and text of the Advent hymns express a variety of moods. “O.” Advent Inspiration. how long Ere we shout the glad song? Christ returneth. Hallelujah!” expresses the longing and impatience to see the Lord. “Woe to you. Today. New upbeat Advent songs are needed today to appeal especially to the younger generation that has been captivated by the fast moving. Hallelujah! Christ is King. “O it must be the breaking of the day!” gives the reassurance that the end-time signs are fast-fulfilling.

A song that comes to mind is “Welcome Home Children. The fact that I used the song without being aware that it was a CCM production shows that contemporary songs can have music and lyrics suitable for worship. and peace” that comes when the Holy Spirit works in our lives (Gal 5:22).An Adventist Theology of Church Music
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senses have become so dulled by their overexposure to the loud. Gianluca.” The Lord Himself will greet His children. The band of angels that will accompany Him will produce the most thundering sounds this planet has ever heard. rhythmic sounds of rock music that they can no longer hear “the still small voice. you who have followed so faithfully.
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. The song helps to capture the delight and emotional excitement of the glorious day that is coming when “heaven’s gates will open wide and all who love the Lord will enter in.” in which two outstanding lyric tenors join me in presenting the Sabbath through words and songs. “Welcome home children. Rock music provides for many a deceptive substitute for the inner feelings of “love. informs me that “Welcome Home Children” is a CCM song. like “Welcome Home Children” which are theologically correct and musically inspiring. saying. Oswald Spengler gave an ominous warning years ago: “In the last stages of a civilization all art becomes nothing but titillation of the senses (nerve excitement). can enrich the worship experience of believers and appeal to those who are receptive to the working of the Holy Spirit in their lives. today we live in the very last stage of the end-time civilization when “the titillation of the senses” through the rock idiom has invaded even the evangelical community. joy. now that your work on earth is through. The splendor of His presence and the vibrations from the sound of His voice will be so powerful as to annihilate the unbelievers and to bring new life to believers.” by Adrian King. We used this song in a video recording entitled “Sabbath in Songs. Welcome home children. Such a glorious event can fire up the imagination of musicians today to compose new songs that will appeal to many who are looking for meaning and hope in their lives. Welcome home children. including an increasing number of Adventist churches.” New Advent songs.”31 Indeed. Our challenge today is to help our rock-and-roll generation capture the vision of that glorious day that is coming when they will be able to experience the most exciting audiovisual extravaganza they have ever imagined—the glorious coming of the Rock of Ages. this is a place I prepared for you.” In his Decline of the West. My son.

To use secular music for the church service on the Sabbath is to treat the Sabbath as a secular day and the church as a secular place. The result is that some popular songs sung during church services have an inadequate or even heretical theology oriented toward self-satisfaction. In an attempt to bring about worship renewal. percussion instruments and music that stimulates people physically rather than elevating them spiritually are out of place in the church today. Christ’s ministry in the heavenly sanctuary. We have found that out of respect for the presence of God. as well as the heavenly sanctuary. not only in time. percussion instruments and entertainment music which stimulate people physically were not allowed in the Temple services. At a time when cultural relativism has influenced many churches to blur the distinction between sacred and secular music.An Adventist Theology of Church Music CONCLUSION
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We noted at the outset that music is like a glass prism through which God’s eternal truths shine. many evangelical churches today are adopting religious rock songs on the basis of personal taste and cultural trends rather than on clear theological convictions. We have found that each of these three distinctive Adventist beliefs contributes in its own unique way to the definition of what church music should be like. has been very instructive. but also in such areas as church music and worship. including church music and worship. and the Second Advent. The choice of appropriate church music is crucial especially for the Seventh-day Adventist church. Through church music. The study of the music and liturgy of the Jerusalem Temple. Church music must not
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. nor are they used in the liturgy of the heavenly sanctuary. The Sabbath teaches us to respect the distinction between the sacred and the secular. we have considered in this chapter the implications of the Sabbath. a whole spectrum of biblical truths can be taught and proclaimed. because through her music she teaches and proclaims the end-time truths entrusted to her. Worship in the earthly and heavenly temples teaches us also that God is to be worshipped with great reverence and respect. For the same reason. Regretfully. Throughout church history people have learned through music the great truths of the Christian faith and the claims of Christ upon their lives. To provide a theological basis for the choice and performance of music during the worship service of Adventist churches. the music and worship style of most Adventist churches is largely based on the uncritical acceptance of the worship style of other churches. the Sabbath teaches us to respect such a distinction in all the facets of Christian life.

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treat God with frivolity and irreverence. can fire up the imagination of musicians today to compose new songs to appeal to those who are looking for meaning and hope in their lives. not by accepting uncritically contemporary pop music which is foreign to the mission and message of the church. It should help to calm our souls and respond to Him in reverence. We hope and pray that the church will respond to this challenge. with the greatest band of angels this world has ever seen. At the threshold of a new millennium. the Seventh-day Adventist church faces an unprecedented challenge and opportunity to re-examine the theological basis for the choice and performance of its music. The soon-appearing of the Rock of Ages. Belief in the certainty and imminence of Christ’s coming should be the driving force of the Adventist lifestyle and church music.
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. but by promoting the composition and singing of songs that fittingly express the hope that burns within our hearts (1 Pet 3:15).

have made me aware of the fact that the Bible has far more to say about music. and musical instruments. As Christians we cannot afford to close our minds to the search for biblical truths. Objectives of This Chapter. especially church music. had a bumper sticker which read. because we are called to grow in “grace and knowledge” (2 Pet 3:18). Instead.Chapter 7 BIBLICAL PRINCIPLES OF MUSIC by Samuele Bacchiocchi
The story is told of a man who. The challenge is not where to find these references. “My mind is already made up. than I had ever imagined. singing. Please do not confuse me with the facts. Sometimes we think we know all that the Bible teaches on a certain doctrine. The task is not easy because the Bible is not set up as a doctrinal manual with a section devoted exclusively to music. singing. but how to draw from them principles applicable to us today. but when we begin investigating it. The overall objective of this chapter is to distill from the Bible some basic principles regarding appropriate music for the church service and private use. The many months I have spent examining the biblical references to music. and musical instruments. This has been my experience. Many Christians have strong opinions in favor of or against the use of such music. the Bible is a source book with over 500 references scattered throughout about music. we soon discover how little we know. musicians. It is a privilege to share this learning experience with all those who are eager to understand more fully the biblical principles of music.” This story reminds us of the ongoing debate over the use of “Christian” rock music for worship or evangelism. -175Main Menu
. during an election campaign.

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No attempt is made to trace the history of music in the Bible, as several scholarly studies already address this subject. Our goal is to look at music in the Bible theologically rather than historically. What we seek to understand is the nature and function of music in the social and religious lives of God’s people. More specifically, we want to ascertain what distinction, if any, the Bible makes between sacred and secular music. Was rhythmic music associated with dancing and entertainment ever used in the Temple, the synagogue, or the early church? This chapter is divided into three parts. The first part examines the importance of music in the Bible, especially singing. Three major questions are addressed: (1) When, where, how, and why should we sing? (2) What does it mean to “make a joyful noise unto the Lord”? (3) What is the “New Song” that believers are to sing? The second part of this chapter focuses on the ministry of music in the Bible. The investigation begins with the music ministry in the Temple and then continues with that of the synagogue and finally the New Testament church. The results of this investigation are significant because they show that, contrary to prevailing assumptions, the Bible makes a clear distinction between sacred and secular music. Percussion instruments, rhythmic music with a beat, and dancing were never part of the music ministry of the Temple, the synagogue, or the early church. The third part of this chapter examines what the Bible teaches about dancing. The question we address is whether or not the Bible sanctions dance as a positive component of church worship. This is an important question because supporters of pop music appeal to some biblical references to dance to justify their use of rhythmic dance music in the church. By way of conclusion, a brief summary will be given of the biblical principles that have emerged in the course of this study. Part 1 THE IMPORTANCE OF SINGING IN THE BIBLE The importance of music in the Bible is indicated by the fact that God’s creative and redemptive activities are accompanied and celebrated by music. At creation we are told that “the morning stars sang together, and all the sons of God shouted for joy” (Job 38:7). At the incarnation, the heavenly choir sang: “Glory to God in the highest, and on earth peace among men with whom he is pleased!” (Luke 2:14). At the final consummation of redemption, the great multitude of the redeemed will sing: “Hallelujah! For the Lord our God the Almighty reigns. Let us rejoice and exult and give him glory, for the
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marriage of the Lamb has come, and his Bride has made herself ready; it was granted her to be clothed with fine linen, bright and pure” (Rev 19:6-8). The Singing of Creation. The response of the natural world to the majestic glory of God’s created works is often expressed in terms of singing. This clearly shows that singing is something which God welcomes and in which He delights. Numerous examples show God’s creation being invited to sing praises to God. “Let the heavens rejoice, let the earth be glad; let the sea resound, and all that is in it; let the fields be jubilant, and everything in them. Then all the trees of the forest will sing for joy; they will sing before the Lord” (Ps 96:1112; NIV). “Let the rivers clap their hands, let the mountains sing together for joy; let them sing before the Lord” (Ps 98:8-9; NIV). “Praise the Lord, all his works everywhere in his dominion” (Ps 103:22; NIV). We read about the birds singing because God provides them with water (Ps 104:12). The heavens, the lower parts of the earth, the mountains, the forest, and every tree breaks forth into singing unto the Lord (Is 44:23). The wilderness, the cities, and the inhabitants of the rock sing and give glory to God (Is 42:1-12). Even the desert shall blossom and “rejoice with joy and singing” (Is 35:2). All these metaphorical allusions to the animated and inanimate creation singing and shouting praises to God indicate that music is something that God ordains and desires. If these were the only references in the Bible, they would be sufficient for us to know that music, especially singing, has an important place and purpose in God’s universe. Human Singing. More wonderful than all of nature singing is the invitation extended to human beings to sing. “O Come, let us sing to the Lord; let us make a joyful noise to the rock of our salvation!” (Ps 95:1). “Sing praises to the Lord, O you his saints, and give thanks to his holy name” (Ps 30:4). “Oh that men would praise the Lord for his goodness, and for his wonderful works to the children of men” (Ps 107:8; KJV). Jesus once said that if people would not praise Him, “the very stones would cry out (Luke 19:40). The Bible specifically mentions that singing should be directed to God. Its purpose is not personal gratification, but God’s glorification. Moses said to the people: “I will sing to the Lord, for he has triumphed gloriously” (Ex 15:1). David declared: “I will extol thee, O Lord, among the nations, and sing praises to thy name” (2 Sam 22:50). Similarly, Paul exhorts the believers to sing and make melody “to the Lord with all your heart” (Eph 5:19). God
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and the praising of His people are so wrapped up together that God Himself is identified as “my song”: “The Lord is my strength and my song” (Ex 15:2). Music in the Bible is not only for God, it is also from God. It is God’s gift to the human family. In praising God for His deliverance, David says: “He put a new song in my mouth, a hymn of praise to our God” (Ps 40:3. NIV). Thus, music can be inspired by God, just as His Holy Word. A telling proof is the fact that the longest book of the Bible is Psalms—the hymn book of God’s people in Bible times. This means that sacred music is not only a human artistic expression. We may differ on the style or types of music, but no Christian can legitimately be opposed to music per se, because music is part of God’s gracious provision for the human family. Music Essential to the Total Human Well-Being. The first statement that we find in the Bible on any given subject has a foundational value. This seems to be true also in the case of music. Only a few generations from Adam and Eve, the Bible tells us that three sons were born to Lamech and his two wives, Adah and Zillah. Each son is introduced as “the founding father” of a basic profession. “Adah bore Jabal; he was the father of those who dwell in tents and have cattle. His brother’s name was Jubal; he was the father of all those who play the lyre and pipe. Zillah bore Tubal-cain; he was the forger of all instruments of bronze and iron” (Gen 4:20-22). It is evident that these three brothers were the founding fathers of three different professions. The first was a farmer and the third a toolmaker. Both agriculture and industry are essential to human existence. Sandwiched between the two is the musical profession of the middle brother. The implication seems to be that human beings are called, not only to produce and consume food and goods, but also to enjoy aesthetic beauty, such as music. The American classical pianist Sam Totman sees in this verse an indication of God’s provision for aesthetic human needs, besides the physical and material ones. He writes: “Here, within the compass of but a few verses, God reveals that the provision of man’s material needs is not enough; in addition, man must have an outlet for his aesthetic sensitivities. Even from the beginning music was more than a mere pastime which could be viewed as something pleasant but essentially unnecessary. Simply stated, God has created in man a certain aesthetic need which can be best satisfied in music, and in his love and wisdom he has provided for this need.”1 From a biblical perspective, music is not merely something potentially enjoyable. It is a gift provided by God to fully meet human needs. The very existence of music should give us reason to praise God for lovingly
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providing us with a gift through which we can express our gratitude to Him, while experiencing delight within ourselves. The Reason for Singing. In the Bible religious music is Godcentered, not self-centered. The notion of praising the Lord for entertainment or amusement is foreign to the Bible. No “Jewish” or “Christian” music concerts were performed by bands or singing artists at the Temple, synagogue, or Christian churches. Religious music was not an end to itself, but as a means to praise God by chanting His Word. An amazing recent discovery, discussed later, is that the entire Old Testament was originally intended to be chanted (sung). Singing in the Bible is not for personal pleasure nor for reaching out to the Gentiles with tunes familiar to them. It is to praise God by chanting His Word—a method known as “cantillation.” Pleasure in singing comes not from a rhythmic beat that stimulates people physically, but from the very experience of praising the Lord. “Praise the Lord, for the Lord is good; sing praise to his name, for that is pleasant” (Ps 135:3; NIV). “How good it is to sing praises to our God, how pleasant and fitting to praise him” (Ps 147:1. NIV). Singing unto the Lord is “good” and “pleasant,” because it enables believers to express to Him their joy and gratitude for the blessings of creation, deliverance, protection, and salvation. Singing is seen in the Bible as an offering of thanksgiving to the Lord for His goodness and blessings. This concept is expressed especially in Psalm 69:30-31: “I will praise God’s name in song and glorify him with thanksgiving. This will please the Lord more than an ox, more than a bull with its horns and hoofs” (NIV). The notion that singing praises to the God is better than sacrifice reminds us of a similar concept, namely, that obedience is better than sacrifice (1 Sam 15:22). Singing praises to God by chanting His Word is not only a pleasant experience; it is also a means of grace to the believer. Through singing, believers offer to God a worship of praise, enabling them to receive His enabling grace. The Manner of Singing. To fulfill its intended function, singing must express joy, gladness, and thanksgiving. “Sing to the Lord with thanksgiving” (Ps 147:7). “I will praise thee with the harp for thy faithfulness, O my God; I will sing praises to thee with the lyre, O Holy One of Israel. My lips will shout for joy, when I sing praises to thee” (Ps 71:22-23). Note that singing is accompanied by the harp and lyre (often called psaltery—Ps 144:9; 33:2; 33:3), and not with percussion instruments. The reason, as noted in Chapter 6, is that string instruments blend with the human voice without supplanting it.
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In numerous places the Bible indicates that our singing should be emotional with joy and gladness. We are told that the Levites “sang praises with gladness, and they bowed down and worshipped” (2 Chron 29:30). Singing should be done not only with gladness but also with the whole heart. “I will give thanks to the Lord with my whole heart” (Ps 9:1). If we follow this biblical principle, then our singing of hymns or praise songs in church should be joyful and enthusiastic. To sing enthusiastically, it is necessary for the grace of God to be applied to the believer’s heart (Col 3:16). Without divine love and grace in the heart, singing becomes as a sounding brass and a tinkling cymbal (1 Cor 13:1). The person who has experienced the transforming power of God’s grace (Eph 4:24) can testify that the Lord has “put a new song in my mouth, a song of praise to our God” (Ps 40:3). The music of an unconverted, rebellious heart is to God an irritating noise. Because of their disobedience, God said to the children of Israel, “Take away from me the noise of your songs” (Am 5:23). This statement is relevant in a day of loud amplification of pop music. What pleases God is not the volume of the music, but the condition of the heart. “Make a Joyful Noise unto the Lord.” The reference to the volume of the music reminds us of the admonition to “make a joyful noise unto the Lord”—a phrase that occurs with slight variations seven times in the KJV version of the Old Testament (Ps 66:1; 81:1; 95:1-2; 98:4, 6; 100:1). These verses are often used to defend the use of loud rock music in the church. I have preached in churches where the music of the band was amplified at such high decibels that my eardrums were in pain for several days afterwards. This is the price I sometimes have to pay for preaching the Word of God in those churches that have introduced music bands with high-power amplification systems. Sometimes their huge speakers are placed right on the platform close to the ears of the preacher. The defense for the use of deafening sound in the church service is that God does not really care about how we sound, as long as we make a joyful noise unto Him. Since rock bands with their electronic equipment produce a powerful, thundering loud noise, it is alleged that God is made very happy by such “joyful noise.” Before examining those Bible texts where the phrases “joyful noise” or “loud noise” appear in some mistaken translations, it is important to remember that in Bible times there was no electronic amplification. What was loud in Bible times, would be very normal today. The volume
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of music produced by the human voice or musical instruments without amplification does not increase in proportion of the number of participants. Ten trumpets do not make ten times the noise or volume of one trumpet. In his book on the Psychology of Music, Carl Seashore devotes an entire chapter to the subject of volume. He writes: “The addition of one or more tones of the same intensity tends to increase the total intensity in the volume, but only to a slight degree. For example, if we have a piano tone of 50 decibels and we add to that another tone of the same intensity, the combined effect will be about 53 decibels. If we add a third tone, the total intensity is likely to be 55 decibels. Thus the addition to the total intensity decreases with the number of units combined; and in every case the increase is small in comparison with the original intensity of one element.”2 What this means is that the singers that David appointed to “offer praises to the Lord with the instruments” (1 Chron 23:5) could produce at most a sound volume of about 70 or 80 decibels, because they had no amplification possibilities. The usual choir was rather small, consisting of a minimum of 12 adult male singers, accompanied by few string instruments. The level of volume depended on the distance between the singers and the congregation. By contrast, today a four-man rock group with the right amplification system can output a sound power in the 130-140 decibel level, which can upstage a jumbo jet at takeoff. The “loud noise” in Bible times was not loud enough to harm people physically. Today the possibility of being hurt by excessive volume is a constant possibility. “Most ear doctors say that we should not listen to anything above the 90 decibels on the sound scale. Many rock music groups, both secular and Christian, play at 120-125 decibel level! (Keep in mind that the SST Concord Supersonic jet hits just over 130 decibels when leaving Washington’s Dulles Airport.) ‘Your bodies are the temple of the Holy Spirit’ (1 Cor 6:19). Certainly that text is applicable to this point. We are to be good stewards of our eardrums, too.”3 Does Loud Noise Praise God? Do those Bible texts that speak about making “a joyful noise” or “a loud noise” unto the Lord teach us that God is pleased with the excessive amplification of the human voice or musical instruments during the worship service? Hardly so. This conclusion is largely drawn from a mistranslation of the original Hebrew terms commonly translated as “noise.” In his book, The Rise of Music in the Ancient World, Curt Sachs answers this question: “How did ancient Jews sing? Did they actually cry at the top of their voices? Some students have
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tried to make us believe that such was the case, and they particularly refer to several psalms that allegedly bear witness of singing in fortissimo. But I suspect them of drawing from translations rather than from the original.”4 The phrase “make a joyful noise” is a mistranslation of the Hebrew ruwa. The term does not mean to make an indiscriminate loud noise, but to shout for joy. The God of biblical revelation does not delight in loud noise per se, but in joyful melodies. A good example is found in Job 38:7 where the same word ruwa is used to describe the sons of God who “shouted for joy” at creation. The singing of the heavenly beings at creation can hardly be characterized as “loud noise,” because “noise” presupposes unintelligible sound. The mistranslation of ruwa as “noise” has been caught by the translators of the New International Version (NIV), where the term is consistently translated as “shout for joy” rather than “make a joyful noise.” For example, in the KJV Psalm 98:4 reads: “Make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise.” Note the more rational translation found in the NIV: “Shout for joy to the Lord, all the earth, burst into jubilant song with music” (Ps 98:4). There is a world of difference between “making a loud noise unto the Lord,” and “shouting for joy” or “bursting into jubilant song.” Singing jubilantly with the full volume of the human voice is not noise making, but an enthusiastic expression of praise. Another self-evident example of mistranslation is found in Psalm 33:3 which in the KJV reads: “Sing unto him a new song; play skilfully with a loud noise.” The latter phrase is contradictory, because music skillfully played can hardly be described as “loud noise.” One wonders why the translators of the KJV did not see the contradiction. The NIV correctly renders the verse: “Sing to him a new song; play skillfully, and shout for joy” (Ps 33:3). Two Old Testament references indicate that sometimes music can degenerate into noise making. The first reference is found in Amos 5:23 where God rebukes the unfaithful Israelites: “Take away from me the noise of your songs; to the melody of your harps I will not listen.” A similar warning is found in Ezekiel’s prophecy against Tyre: “And I will cause the noise of thy songs to cease; and the sound of thy harps shall be no more heard” (Ezek 26:13). In both texts the word “noise” correctly translates the Hebrew hamown, which occurs eighty times in the Old Testament and is commonly translated as “noise” or “tumult.” The NIV correctly uses the word “noisy”: “I will put an end to your noisy songs, and the music of your harps will be heard no more.” God views such music as “noise” because it is produced by a rebellious people.
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for the maid is not dead. and sing to thy name” (Rom 15:9). . . ‘Give place. in foreign countries. He said unto them. There is no biblical basis for believing that the loud. The Place and Time of Singing. God has always demanded our best. However. As He required the burnt offerings to be “without blemish” (Lev 1:3). “It was a semitic custom to hire professional mourners to wail. the word “noise” is used in conjunction with music produced by professional mourners. The frequent references to praising God among the heathens or Gentiles (2 Sam 22:50. Isaiah exhorts to praise God in the islands (Is 42:11-12). Although this verse definitively connects noise making with music in the New Testament. there are no indications in the Bible that the Jews or the early Christians borrowed secular
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. God’s people are invited to break forth in singing with power and joy.” because they consisted of incoherent sounds. and among the saints. when making an offering to him. The fact that Christ characterizes such music as “noise” suggests that the Lord does not approve of loud musical noise in a worship service. Paul and Silas were “praying and singing hymns to God” (Acts 16:25). On this occasion the Greek verb thorubeo refers to the musical wailing and noise making by minstrels and the crowd. God does care about how we sing and play during the worship service. Ps 108:3) suggest that singing was seen as an effective way to witness for the Lord to unbelievers. Rom 15:9. and sing and beat percussion instruments and play mournfully over the dead. but also among unbelievers. it does not implicate that in the New Testament dispensation we should make noise unto God with our religious music. or any kind of noise making for that matter. in time of persecution. so it is reasonable to assume that He expects us to present Him with the very best musical offering. and saw the minstrels and the people making a noise. We read in Matthew 9:23-24: “And when Jesus came into the ruler’s house. noisemaking music or questionable lyrics are acceptable to God. The writer of Hebrews says: “In the midst of the congregation I will praise thee” (Heb 2:12). The Bible instructs us to sing.Biblical Principles of Music
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In one instance in the New Testament. his praise in the assembly of the faithful” (Ps 149:1).’ And they laughed him to scorn. but sleepeth. While in jail.” In this case the music and the wailing are correctly characterized as “noise.”5 The review of relevant texts indicates that the Bible does not sanction making a joyful noise unto the Lord. . not only in God’s House. Paul affirms “I will praise thee among the Gentiles. The Psalmist admonishes to “Sing to the Lord a new song.

40:3. arguing that for them the contemporary pop religious music is the prophetic fulfillment of the biblical “new song. a study of the “new song” in the Bible reveals that the phrase “new song” refers not to a new composition. He put a new song in my mouth. There certainly is a continuing need for new hymns to enrich the worship experience of the church today. singing with a loud voice a new song which says: “Salvation belongs to our God who sits on the throne. several subscribers to my “Endtime Issues” newsletter have emailed messages. 144:9. This is why the Psalmist says: “I will praise the Lord all my life. 14:3). During the preparation of this manuscript.
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. 96:1. 149:1. synagogue. Others believe that Christians are required to sing new songs and. consequently. but extends to the totality of one’s existence. On the contrary. 98:1. In Revelation those who come out of the great tribulation are seen standing before God’s throne. out of the mud and mire. The “New Song” of the Bible. Believers who live in peace with God have a constant song in their hearts. This point becomes clearer as we proceed with this study. NIV). Let us look first at a couple of passages from the Old Testament which help us define the meaning of the “new song. NIV). Singing praises to God is an experience that begins in this life and continues in the world to come. a hymn of praise to our God” (Ps 40:2-3. is not limited to the worship experience. the “new song” is defined by the appositional phrase as “a hymn of praise to our God. and early Christian gatherings.” The Psalmist says: “He lifted me out of the slimy pit.” Seven times the phrase occurs in the Old Testament (Ps 33:3. Both Jews and early Christians believed that secular music had no place in the house of worship.” It is the experience of deliverance from the slimy pit and of restoration upon solid ground that gives David reason to sing old hymns of praise to God with new meaning.Biblical Principles of Music
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tunes and songs to evangelize the Gentiles. we shall see below that the entertainment music and percussion instruments common in the pagan temples and society were conspicuously absent in the worship music of the Temple. musicians constantly must compose new hymns for the church. though the singing may not always be vocalized.” because pop songs have “new” lyrics and tunes. he set my feet on a rock and gave me a firm place to stand. Is 42:10) and twice in the New Testament (Rev 5:9. and to the Lamb” (Rev 7:10). I will sing praise to my God as long as I live” (Ps 146:2. Singing. Nine times the Bible speaks of singing “a new song. However. In this text. 104:33. but to a new experience that makes it possible to praise God with new meaning. in the Bible.

14:2). “Neos is what is new in time or origin. better than the old. The same concept is expressed in the two references to the “new song” found in the New Testament (Rev 5:9. What makes this song new. The “new song” celebrates the victory over the old life and old songs. but because of their unique experience. which means new in quality and not in time. the redeemed join the elders and the living creatures in singing “a new song before the throne” (Rev 14:3). which is being renewed in knowledge after the image of its creator” (Col 3:9-10). The Theological Dictionary of the New Testament clearly explains the difference between the two Greek words neos and kainos. The song praises the Lamb “for thou wast slain and by thy blood didst ransom men for God” (Rev 5:9). to the One who gives victory to kings. It is noteworthy that Paul’s famous exhortation in Colossians 3:16 to “sing psalms and hymns and spiritual songs” is preceded by his appeal to “put off the old nature with its practices and have put on the new nature.Biblical Principles of Music
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The “new song” in the Bible is not associated with simpler lyrics or more rhythmic music. NIV). The twenty-four elders and the four living creatures sing a “new song” before the Throne of God. They came out of the great tribulation. impressive. kainos is what is new in nature. . it expresses gratitude for the new life in Christ experienced by believers. different from the usual. It is the experience of deliverance and victory that inspires David to sing with a new sense of gratitude the hymns of praises. on the tenstringed lyre I will make music to you. We are told that “no one could learn that song” except those “who had been redeemed from the earth” (Rev 14:3). but with a unique experience of divine deliverance. On a similar note in Revelation 14. but the unique experience of the redeemed. They are the only ones who can sing it. is not the new words or melody.”6 Only the person who has experienced the transforming power of God’s grace can sing the new song. O God. thus they can express their praise and gratitude to God in a way no one else can do. not because the words or melody are difficult to learn. who delivers his servant David from the deadly sword” (Ps 144:9-10. David says: “I will sing a new song to you. The latter meaning is expressed by the Greek word neos. For example.
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. . . at the same time. The Greek word translated “new” is kainos.

Biblical Principles of Music Part 2 THE MINISTRY OF MUSIC IN THE BIBLE
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In discussing the importance of music in the Bible. Prior to this time the references to music are primarily in conjunction with women singing and dancing to celebrate special events.” They believe that music produced by percussion instruments and accompanied by dancing was common in religious services. Music was rigidly controlled in the Temple. music making was restricted to men. We shall comment upon it shortly. The transition from the unsettled. God does not give us the license to “do our own thing. nomadic life in the desert to a permanent lifestyle in Palestine under the monarchy afforded the opportunity for developing a music ministry that would meet the needs of the worshipping congregation at the Temple. Miriam led a group of women in singing and dancing to celebrate the overthrow of the Egyptians (Ex 15:121). Very little has been said of the ministry of music conducted first in the Temple.
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. as in all areas of life. played only on limited and special occasions. Jephthah’s daughter met her father with timbrels and dance upon his return from battle (Judg 11:34). This survey will help us to understand that in music. and then in the synagogue. A careful study of the function of music in the Old Testament reveals otherwise. Consequently. they maintain that some styles of rock music and dancing are appropriate for church services today. in the Temple musicians belonged to the professional clergy.” The Institution of the Music Ministry. Women played and danced for the conquering David (1 Sam 18:6-7). What is true of the Temple was later true also of the synagogue and the early church. Women did continue making music in the social life of the people. With the establishment by David of a professional music ministry of Levites. Why women were excluded from serving as musicians in the Temple is an important question that has baffled scholars. and used only few specific musical instruments. For example. A brief examination of the public ministry of music during Bible times offers significant lessons for church music today. and finally in the early church. (1) The Music Ministry in the Temple Many of those involved in contemporary music ministry appeal to the different styles of music of the Old Testament for “doing their own thing. There was no possibility to turn the Temple service into a music festival where any Jewish “rock band” could play the entertainment music of the time. we have focused so far on the role of singing in the personal spiritual experience.

we limit ourselves to a brief summary of those features that are relevant for the ministry of music today. These in turn were responsible for the rest of the selection of the musicians. The third stage in David’s organization of the ministry of music occurred at the end of David’s reign when the king planned for the more elaborate music service that would be conducted at the temple that Solomon was to build (1 Chron 23:2 to 26:32). and the other under the leadership of Herman and Jeduthun before the altar in Gibeon (1 Chron 16:39-42). The Ministry of the Musicians. and
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. The Levite musicians accounted for more than ten percent of the 38. David organized the music ministry in three stages. and scope of the ministry of the musicians (1 Chron 23:25-31). David established a pool of 4. To ensure that there would be no confusion or conflict between the sacrificial ministry of the priests and the music ministry of the Levites. since musical ability is not always inherited.”8 David himself was involved together with his officials in the appointment of twenty-four leaders of the watches. rank. From this group he formed a professional Levitical choir of 288 members. 23:5). Function and Significance of Choral Music in Chronicles. The nature of the ministry of the musicians is graphically described: “They shall stand every morning. First.000 Levites. David carefully delineated the position. An insightful analysis of how David accomplished this organization is provided by the doctoral dissertation of John Kleinig. According to the first book of Chronicles. The performance of the ministry of music was subordinate to the priests (1 Chron 23:28). The second stage occurred after the ark had been safely placed in its tent in his palace (2 Chron 8:11).7 For the purpose of our study. “Some kind of examination was probably necessary for the process of selection. he ordered the heads of the Levitical families to appoint an orchestra and a choir to accompany the transportation of the ark to its tent at Jerusalem (1 Chron 15:16-24).Biblical Principles of Music
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The book of Chronicles describes with considerable detail how David organized the music ministry of the Levites.The Lord’s Song: The Basis. David arranged for the regular performance of choral music at the time of the daily burnt offerings with choirs in two different places (1 Chron 16:4-6. One choir performed under the leadership of Asaph before the ark in Jerusalem (1 Chron 16:37). each of whom had twelve musicians for a total of 288 musicians (1 Chron 25:1-7). 37-42).000 Levites as potential performers (1 Chron 15:16. thanking and praising the Lord.

The purpose of their ministry was to thank and praise the Lord. and whenever burnt offerings are offered to the Lord on sabbaths. that was his responsibility because he was skillful at it” (NIV). The context suggests that the musicians stood somewhere in front of the altar. David said: “Sanctify yourselves. NIV). the Levite musicians were mature and musically trained.
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.10 Rabbinical sources report that the musical training of a Levitical singer took at least five years of intensive preparation. First. 2 Chron 34:12. Ps 137:5). The concept of musical skill is mentioned several times in the Bible (1 Sam 16:18. Speaking to the leaders of the Levite musicians. Second. the music ministry at the Temple was successful because its musicians were prepared spiritually. The choir consisted of a minimum of twelve adult male singers between the ages of thirty and fifty (1 Chron 23:3-5).11 The biblical principle is that music leaders must be mature with an understanding of music.Biblical Principles of Music
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likewise at evening. They announced the Lord’s presence to His assembled people (1 Chron 16:4). especially today as we live in a highly educated society. since their music performance coincided with the presentation of the burnt offering. We read in 1 Chronicles 15:22 that “Kenaniah the head Levite was in charge of the singing. In 1 Chronicles 16:8-34 we find a remarkable hymn of praise that was sung by the Temple choir. We thus have in 1 Chronicles 16:8-34 a carefully crafted composition which has been placed there to demonstrate the basic pattern of thanksgiving which David instituted for performance by the singers in Jerusalem. So the priests and the Levites sanctified themselves” (1 Chron 15:12. Paul also alludes to it when he says: “I will sing with my spirit. continually before the Lord” (1 Chron 23:30-31). which were reworked and recombined to produce this remarkable liturgical text. . 14). 96. . new moons and feast days. you and your brethren . He became director of music because he was an accomplished musician able to instruct others.”9 Successful Music Ministry. 1 Chron 25:7. The song itself begins and ends with a call to thanksgiving. and 106. The music ministry at the Temple was successful for several reasons which are relevant for our church music today. A concluding petition and doxology are appended in 1 Chronicles 16:35-36. according to the number required of them. reassuring them of His favorable disposition toward them. but I will also sing with my mind” (1 Cor 14:15. The Levite musicians were given a sacred trust to continually minister before the Lord (1 Chron 16:37). “This song consists of portions of Psalms 105. They were set aside and ordained for their ministry like the rest of the priests.

the God of Israel. 13:5. 2 Chron 8:14. Therefore these principles established by God for the Levitical priesthood should be noted as valid guidelines for music leaders in a New Testament church. the Levite musicians were not singing artists invited to entertain the people at the Temple. They were ministers of music. for they were on duty day and night. the music ministry at the Temple was conducted by experienced and mature Levites who were trained musically. dwelling in the chambers of the temple free from other service. Through their musical service the Levites “ministered” to the people. The biblical principle is that the work of a minister of music should not be “a labor of love. to thank. the Levites are said to minister to the people through their music (1 Chron 16:4. Summing up. 37. to invoke.”12 The Levitical Choir and the Sacrificial Ritual. An indication of the importance of the music ministry can be seen in the fact that the Levite musicians were paid out of the same tithes given for the support of the priesthood (Num 18:24-26. prepared spiritually. supported financially. 10-12).Biblical Principles of Music
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Third.” “thank. The book of Chronicles presents the musical ministry of the Levites as part of the
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. the Levite musicians were full-time workers. because we read that “David left Asaph and his brethren there before the ark of the covenant of the Lord to minister continually before the ark as each day required” (1 Chron 16:37). In five other instances in the Old Testament.” and “praise”—suggest that the music ministry was a vital part of the worship experience of God’s people. They ministered with song before the tabernacle of the tent of meeting” (1 Chron 6:31-32). The biblical lesson is that ministers of music must be willing to work diligently in preparing the music needed for the worship service. 31:2).” Apparently the Levites’ ministry of music entailed considerable preparation. the heads of father’s houses of the Levites. In a very real sense we are New Testament Levites. “These are the men whom David put in charge of the service of song in the house of the Lord.” The three verbs used in this text—“invoke. As Kenneth Osbeck observes: “To minister musically in the Old Testament was a great privilege and a most responsible service.” but a ministry supported by the tithe income of the church. such service does not need to be remunerated. after the ark rested there. Lastly. This is still true of a church music-ministry today. and to praise the Lord. 1 Chronicles 9:33 states: “Now these are the singers. It stands to reason that if a lay person volunteers to help in the music program of the church. 23:6. The ministry of the Levite musicians is well defined in 1 Chronicles 16:4: “Moreover he appointed certain of the Levites as ministers before the ark of the Lord. Neh 12:44-47. and served pastorally.

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. but he also “made” the musical instruments to be used for their ministry (1 Chron 23:5.Biblical Principles of Music
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presentation of the daily offering at the Temple. the music was never an end to itself. the trumpets. which announced the Lord’s presence. so that he would come to His people and bless them. the choral service came after the rite of atonement had been completed. and the song of the Lord was sung by the musicians [2 Chron 29:25-30]. place. and not overshadow it. music reinforced the teaching and proclamation of the Word of God. the burnt offering was presented upon the altar. In the synagogue and the early church. as He had promised in Exodus 20:24 and demonstrated in 2 Chronicles 7:1-3. This service created the ritual purity necessary for God’s acceptance of His people and the manifestation of His blessing upon the congregation. they went to the Temple to witness and experience God’s atonement for their sins. 2 Chron 7:6). called for the prostration of the congregation in His presence. The ritual consisted of two parts. This is why they are called “the instruments of David” (2 Chron 29:26-27).”13 The function of the music during the sacrificial ritual was not to overshadow or replace the sacrifice itself. At a time when many Christians choose their churches in accordance with the musical style of worship. It did not attempt to secure a favorable response from the Lord but presupposed such a response as something already given. David instituted not only the times. In other words. Thus. To be true to the biblical witness. the Israelites did not go to the Temple to hear the Levite bands performing in sacred concert. During this ritual no songs were sung. The music that accompanied the atoning sacrifice invited them to accept and celebrate God’s gracious provision of salvation. but to enlist the involvement of the congregation at certain designated moments during the service. our church music must support the teaching and preaching of God’s Word. First came the blood ritual which was designed to atone for the sins of the people through the transference of the blood of the sacrifice to the Holy Place (2 Chron 29:21-24). The Musical Instruments of the Temple. we need to remember that in the Bible. In the Temple the music served enhanced the sacrificial service by enlisting the participation of the congregation at certain specific moments. The musicians proclaimed the Lord’s name during the presentation of the sacrifices. Instead. Once the rite of atonement was completed. and words for the performance of the Levitical choir. John Kleinig explains that “As the sacrifices were being burnt upon the altar. This ritual signalled God’s acceptance of His people and the manifestation of His presence.

and. and harp (1 Chron 15:16. Curt Sachs explains. “In worship at the Temple the trumpets gave the signal for the prostration of the congregation during the presentation of the burnt offering and the performance of the choral service (2 Chron 29:27-28). and lyres. which was not employed in the music proper. but merely to mark pauses and intermissions.“The music in the Temple included cymbals. in 715 B. Some appeal to the use of cymbals to argue that Temple music had a rhythmic beat like rock music today. the trumpeters stood facing them in front of the altar (2 Chron 5:12. tinkling sound. they were wielded by the head of choir on ordinary occasions (1 Chron 16:5) or by the three heads of the guilds on extraordinary occasions (1 Chron 15:19). “The percussive instruments were reduced to one cymbal. the players of both are called the ‘sounders’ in 1 Chronicles 16:42. Since the trumpets and the cymbals were played together to announce the beginning of the song. Z. When struck together vertically. . according to commandment of David and of Gad the king’s seer and of Nathan the prophet.”14 This arrangement highlighted the responsibility of the trumpeters to give the signal for the congregation to prostrate and for the choir to sing. While the Levitical musicians faced the altar. . Num 10:2) to seven or more on special occasions (1 Chron 15:24. The trumpets were played by the priests and their number ranged from two in the daily worship (1 Chron 16:6. King Hezekiah “stationed the Levites in the house of the Lord with cymbals. The cymbals consisted of two metal plates with reflexed rims about 10-15 inches wide. marked the end
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. as Kleinig explains. .. for the commandment was from the Lord through his prophets” (2 Chron 29:25). But there is little doubt that the cymbals.”16 In a similar vein. harps. they produced a ringing. “the cymbals were not used by the precantor to conduct the singing by beating out the rhythm of the song. consequently. C. .”15 In his book Jewish Music in Its Historical Development. The importance of this combination as divinely ordained is indicated by the fact that this combination of instruments was respected for many centuries until the destruction of the Temple. Since they were used to introduce the song. For example. . Idelsohn notes that in the worship of the Temple only one pair of cymbals were used and that by the leader himself. A.Biblical Principles of Music
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To the trumpets which the Lord had ordained through Moses. and the modern reader might conclude that the presence of percussion instruments indicate rigid beats. the Bible does not forbid percussion instruments and rock music in the church today. lyres. 2 Chron 5:12). Neh 12:33-35. . David added the cymbals. Such an argument ignores the fact that. but rather to announce the beginning of the song or a stanza in the song. as elsewhere. 7:6). 16:5-6).

As indicated by their descriptive name. like dancing. 15:16. In his book The Music of the Bible in Christian Perspective. . the lyres and the harps. their function was to accompany the songs of praise and thanksgiving to the Lord (1 Chron 23:5. may indicate the place where the cymbals were struck. Rather. but it only goes to show that there was a distinction between the sacred music played inside the Temple and the secular music played outside. 2 Chron 5:13). When King Hezekiah revived Temple worship
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. The sounds produced by any musical instrument are neutral. 27. Some scholars argue that instruments like drums.”18 Great care was taken to ensure that the vocal praise of the Levitical choir would not be overshadowed by the sound of the instruments. 2 Chron 5:1213.”17 The term “Selah. entertainment music used in social life. 19. A restriction was placed on the musical instruments and art expression to be used in the House of God. and the secular. the reason is that these instruments were commonly used to produce entertainment music which was inappropriate for worship in God’s House. God prohibited a number of instruments which were allowed outside the Temple for national festivities and social pleasure. associated with secular entertainment. The musicians who played the harps and the lyres would themselves sing the song to their own accompaniment (1 Chron 9:33. . . A word for rhythm does not seem to exists in the Hebrew language. The restriction on the use of instruments was meant to be a binding rule for future generations. Garen Wolf explains that “String instruments were used extensively to accompany singing since they would not cover up the voice or the ‘Word of Jehovah’ which was being sung. Restriction on Musical Instruments. flutes. This could well be the case.Biblical Principles of Music
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of a line and not the beats inside a verse. timbrel (which was a tambourine). 20:21). the Lord taught His people to distinguish between the sacred music played in the Temple. or because they were customarily played by women for entertainment. The reason is not that certain percussion instruments were evil per se.” which occurs in some psalms to mark the end of a stanza. like a letter of the alphabet. which were called “the instruments of song” (2 Chron 5:13) or “the instruments of God’s song” (1 Chron 16:42). and dulcimers were kept out of the Temple because they were associated with pagan worship and culture. By prohibiting instruments and music styles. The third group of musical instruments was comprised of two string instruments.

Neh 12:27. Musical instruments should serve as a hand-maiden to the Word of God which is sung and proclaimed. No “Jewish Rock Bands” were at the Temple to entertain the people with loud rhythmic music.Biblical Principles of Music
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in 715 B. . They marked the end of a stanza and the cessation of the singing. because the church. because the Temple was a place of worship and not a social club for entertainment. Lessons from the Temple Music. as noted earlier. Like the string instruments used in the Temple. Percussion instruments which stimulate people physically through a loud and relentless beat are as inappropriate for church music today as they were for the Temple music of ancient Israel. Percussion instruments like drums.. and lyres. 36). that a distinction must be made between the secular music used for social entertainment and the sacred music employed for worship service in God’s House. The lesson for us today is evident. A second lesson is that the musical instruments used to accompany the choir or the singing of the congregation should not cover up the voice. We read that the king “stationed the Levites in the house of the Lord with cymbals. tambourines. according to the commandment of David .C. Two and a half centuries later when the Temple was rebuilt under Ezra and Nehemiah. for example. On numerous occasions I have been in churches equipped with powerful electronic organs that are played so loud that the voice of the
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. but in a limited way. like the ancient Temple. is God’s House in which we gather to worship the Lord and not to be entertained. This means. What lessons can we learn from the music of the Temple? The absence of percussion musical instruments and of dancing bands in the music of the Temple indicates. that organ music should not be so loud as to drown the voice of the congregation. which were commonly used for making entertainment music. musical instruments used in the church today should support the singing. No percussion instruments were allowed to accompany the Levitical choir or to play as an orchestra at the Temple (Ezra 3:10. he meticulously followed the instructions given by David. for the commandment was from the Lord through his prophets” (2 Chron 29:25). the same restriction was applied again. This confirms that the rule was clear and binding over many centuries. The singing and the instrumental music of the Temple were to differ from that used in the social life of the people. timbrels or tabrets. Church music should differ from secular music. . Only the cymbals were used. harps. were absent in the Temple music.

according to the Talmud. When instruments are used to accompany the singing. Note that trumpets and cymbals were used in the Temple. emerged most likely during the Babylonian exile as the place where prayers were offered and scripture was read and taught. The synagogue. While the music of the Temple was predominantly vocal. The Temple was primarily where sacrifices were offered on behalf of the whole nation and of individual believers. we need to eliminate in the church such instruments as the piano and the organ. besides supplanting it. apple pie. must respect and reflect the sacredness of the place of worship. on the other hand. The biblical principle is that instrumental music accompanying the singing should aid the vocal response to God and not drown it. they should support the human voice without supplanting it. with string instruments aiding the singing. the music of the synagogue was exclusively vocal. primarily because the two institutions had different purposes. (2) The Music Ministry in the Synagogue The function of music in the synagogue differed from that of the Temple. Nothing was wrong with these instruments. Biblical principle indicates that the function of the organ is to support the singing of the congregation. we should not eat pizza. This principle applies not only to organ music. or ice cream. presumably because they do not blend well with the human voice. Another point is that instruments like the organ or the piano were unknown in Bible times. The difference in function between the Temple and the synagogue is reflected in the different roles that music played in these two institutions.
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. there were 394 synagogues located in Jerusalem alone in Jesus’ time. without any instruments. Such an argument ignores the distinction between a biblical principle and its cultural application. While there was only one Temple for the whole nation. not to cover it up. They simply were not seen as suitable to accompany the singing. The important biblical principle is that music in God’s House.Biblical Principles of Music
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congregation cannot be heard. Were we to exclude from our life today all that the Bible does not explicitly mention. because they are not string instruments. but to any other instrument or an orchestra that accompanies a choir or a singing congregation. both instrumental and vocal. In Bible times this was best accomplished by the use of string instruments. but not to accompany the Levitical choir. The only exception was the shofar—the ramhorn that served as a signal instrument. Some argue that if we are to follow the example of the Temple.

Little is known about when the transition from declamatory to musical reading was first evidenced. and that its eventual complexity and organization was the result of hundreds of years of crystallization. but it is a long established fact among scholars of Bible music. did instrumental music once again appear in the (liberal) synagogue. was “partly because of the hostility of the Pharisees to instrumental music. . was in the hands of lay persons and their music was. and the exclusion still remains in force where. known as “cantillation. one for each of the books of the Bible intended to be publicly read.” Little evidence suggests that musical instruments were ever used in the synagogue service. “logenic. The distinction between music and public speech was blurred in the synagogue. .” “The concept that the entire Old Testament was originally intended to be chanted (sung) is a new concept to church musicians and pastors. “Word-centered. which often took the form of chanting.C. Their choral music was an accessory to the sacrificial ritual. .”21 “The intonations or cantillations. We might say that the music was “sacrifice-centered. the only instrument used in the synagogue service was the shofar. as in modern Israel. mentioned as far back as the first century. 70 destruction of the Temple.”20 Blurring of Music and Speech.” By contrast. Idelsohon and Werner both believe that the chanting of Scripture. in the synagogue the service. The reason that it is such a well-kept secret is that we tend to ignore what we do not understand. in one form or another.” The participation of the congregation was limited to affirmative responses as “Amen.D. and the disappearance of the Levitical functions. The reason. and partly because of the deep mourning for the Temple and the land. The exclusion of instruments from Jewish worship remained in force generally for many centuries. were cast into a system of modes or formulae. The musical ambiguity of the synagogue service was caused by the fact that much of the service consisted of prayers and the public reading of the Scriptures. except that the Psalms were sung in temple worship. . . We know that after the A. only at the loss of political power by the rabbis in the nineteenth century Emancipation. as Eric Werner explains. as Curt Sachs call it. orthodox rabbis retain some power. including the provision of music for the sanctuary. went back perhaps as far back as Ezra (fifth century B. including the music.”19 that is.Biblical Principles of Music
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In the Temple the ministry of music was in the hands of professional musicians.” or “Hallelujah. because the word-centered worship migrated back and forth between speech and song. .”22
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.).

based on reading the Holy Books.Biblical Principles of Music
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“The Talmud scorns those who read the Scriptures without melody and study the words without singing. the character of the composition. Nothing in the Bible commands us to sing the Scriptures. it is good to remember that the music of the synagogue.24 Relevance of Synagogue Music for Today. At a time when much of CCM is deficient in scriptural content and Christian artists often draw the attention of the people to their singing abilities rather than to the teachings of God’s Word.”23 One of the surprising discoveries of recent years is that the accents of the Masoretic Hebrew Text are musical notations. Church music should help us hear the Word of God through its sound. While much of the music played in the pagan society was improvised. Does our church music help us to hear the Word of God clearly? Remember that “faith comes from hearing the message. but a means of praising the Lord by chanting His Word and thus learning His revealed will. . though not in the stagnant monotone of a Christian lesson. In both forms it was what we call cantillation. which was found to consist of a seven-note diatonic scale.” In fact. The Jews came together to the synagogue in a rather informal setting to pray. but rather in the noble fluency of Gregorian melodies. What lessons can we learn from the ministry of music at the synagogue? Are we required to chant scripture today as the Jews have historically done in the synagogue? No. This does not exclude the possibility of learning scripture by means of the “Scripture song” and “Psalm-singing. music was not an end to itself. and its lyrics. . read. This made it possible for Suzanne Haik-Vantoura to decipher the ancient music of the Bible. which Jesus Himself sang. In this respect the Temple [and the synagogue] music
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. was musical throughout. strikingly similar to our modern diatonic scale. . was “Word-centered”— it was designed to teach and proclaim the great Scriptural truths. NIV). considerable efforts have been done in recent times to set to music numerous Psalms and Bible passages. Another important lesson is that the music of the Temple and synagogue was distinct from that of the pagan society. and sing the Scriptures. We have seen that the ministry of music at the synagogue was largely a ministry of the Word. alternating between the cantor’s chant and the tunes of the congregation. and the message is heard through the word of Christ” (Rom 10:17. For them. Service. “the rigid training of the Levites as described by Josephus and rabbinical sources left little room for spontaneous improvisation.

with lay people leading out in the prayer. One text refers to Paul and Silas singing while in jail (Acts 16:25). and exhortation. only a dozen passages refer to music. reading. We have no way of knowing whether they sang psalms or newly composed Christian hymns. 11:17. 1 Cor 13:1. It consisted of Psalms 113 to 118. especially when they are seen within the broader context of the synagogue worship. Most likely this was the second portion of the Jewish Hallel sung at the completion of the Passover meal. The remaining seven shed important light. singing. Mark 14:26). 14:7-8) and. five refer to it metaphorically (Matt 6:2. Four references to music are found in the Gospels. gives us a clear picture of the role that music played in church services during New Testament times. Of the twelve references to music in the New Testament. Few instructions regarding church music are found in the Epistles. which was known and practiced by the Christians. Both were conducted in an informal setting. in which music is part of a rich eschatological drama. are not relevant to our study. as scholarly studies have established. but they do not inform us about the role of music in the church. in which improvisation is normally indispensable. Two passages are parallel and mention Christ singing a hymn with His disciples at the conclusion of the Last Supper (Matt 26:30.26 The fundamental difference between the two was the messianic proclamation. The New Testament references to worship gatherings reflect to a large extent the worship service of the synagogue. Instructions Regarding Music. None of these passages.Biblical Principles of Music
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must have been untypical of Middle Eastern music. The New Testament is silent about any “musical” office in the church. Luke 7:32. which was present only in the Christian worship. Two mention instrumental music and dancing in conjunction with the mourning for the death of a girl (Matt 9:23) and the celebration upon the return of the Prodigal Son (Luke 15:25). The above examples tell us that music accompanied various activities in the social and religious life of the people. James states that if a person is cheerful
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. Outside the book of Revelation.”25 (3) The Music Ministry in the New Testament To speak about a music ministry in the New Testament may seem completely out of place. however. This is not surprising. because New Testament believers did not see their worship gatherings as being much different from those of the synagogue. consequently.

or an interpretation.
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. In a similar vein. but also publicly in the church. was to edify the congregation. a tongue. Paul encourages the Ephesians to “be filled with the Spirit. a revelation. This text suggests that the church service was rather informal. Some members contributed a hymn to the service. Other texts suggest that the singing of hymns of praise was a feature of the church service. that is. Presumably the singing of praises occurred not only privately at home. is relevant for us today. a lesson. Hymns. Bible scholars have identified several Christ-centered hymns in the New Testament. The biblical principle. Senseless singing is like senseless speech. In the context of his admonitions regarding ecstatic manifestations at the Corinthian church. Paul’s admonition to sing with the mind. Most likely a hymn was a newly composed song of praise directed to Christ. addressing one another in psalms and hymns and spiritual songs. The implication is that singing should spring from a cheerful heart. teach and admonish one another in all wisdom. who provides us with insights into the role of music in the New Testament worship services. “logical” in the Greek). when the singing done in some charismatic churches consists of emotional outbursts of ecstatic shouting which no one can understand. Apparently some sang ecstatically without engaging the mind. Singing should be for spiritual edification and not for physical stimulation. The important point is that the singing. Paul says: “When you come together. like that of the synagogue. Our singing must be with understanding because God expects from His intelligent creatures “a rational worship” (Rom 12:2—logike. then. the apostle admonishes the Colossians: “Let the word of Christ dwell in you richly. Each one contributed something to the worship experience. As Paul says: “God is not a God of confusion but of peace” (1 Cor 14:33). More specific information comes to us from Paul. Both dishonor God. Psalms. each one has a hymn. Paul calls for a balance in music making by urging that singing be done with the mind as well as the spirit: “I will sing with the spirit and I will sing with the mind also” (1 Cor 14:15). is that church music should contribute to the spiritual edification of the believers. The two remaining Pauline texts (Eph 5:19. like all parts of the church service.Biblical Principles of Music
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“Let him sing praise” (James 5:13). and Spiritual Songs. Col 3:16) are the most informative about music in the New Testament. Let all things be done for edification” (1 Cor 14:26). or with understanding. and sing psalms and hymns and spiritual songs with thankfulness in your hearts to God” (Col 3:16). singing and making melody to the Lord with all your heart” (Eph 5:18-19).

Most scholars agree that the three terms loosely refer to the various forms of musical compositions used in the worship service. is set forth. 1 Tim 3:16. vindicated in the Spirit. The singing was to be done with “thankfulness” and “with all your heart.” that is. taken up in glory. The psalms most likely are those of the Old Testament. . with the congregation responding to the song leader. in the New Testament church the singing was “Christ-centered. It treats of the two world orders. “By a series of antithetical couplets in which a second line complements the thought of the first line. and spiritual songs. the divine and human.” Through their singing. which is followed by six lines: He was manifested in the flesh. It is hard to draw hard-and-fast distinctions between these terms. Heb 1:3). the Gospel message . While in the synagogue the singing was “word-centered. preached among the nations. seen by angels. which consists of an introductory sentence (“Great indeed. . Some evidence for these Christcentered hymns appears in the New Testament (Eph 5:14. As Ralph Martin explains. Col 1:15-20. is the mystery of our religion”). though there may have been some Christian additions. designed to extol Christ’s redemptive accomplishments. Presumably some of the singing was responsorial. hymns. and shows how Christ has brought together the two spheres by
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. Christians expressed their wholehearted gratitude “to the Lord” for His marvellous provision of salvation. believed in the world. The spiritual songs probably refer to spontaneous praise songs which the inspiring Spirit placed on the lips of the enraptured worshipper (1 Cor 14:15). A good example of a “Christ-centered” hymn is found in 1 Timothy 3:16. we confess. This hymn embodies in a cryptic way the fundamental truths of the Gospel message.” that is.Biblical Principles of Music
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Both passages provide the earliest indication of how the apostolic church differentiated between the psalms. designed to praise God by chanting His Word. The phrase “addressing one another in psalms and hymns and spiritual songs” suggests that the singing was interactive. Phil 2:6-11. The hymns would be newly composed songs of praise directed to Christ.
Christ-Centered Hymns.

Col 1:15-20. A most telling evidence of “Christ-centered” singing by the early church is found in the private correspondence between the Roman Governor Pliny and the Emperor Trajan. Rom 8:3) and by His lifting up of humanity back again into the divine realm. ask yourself: Do the beat. but to abstain from theft. majesty. for thou wast slain and by thy blood didst ransom men for God. Is our singing “Christ-centered” like that of the apostolic church? Does our church music praise the Savior for His past. The witness of the New Testament singing is relevant for us today. To his surprise.Biblical Principles of Music
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His coming from the glory of the Father’s presence into this world (‘revealed in the flesh’: cf. Pliny reported to the emperor that he tortured some young Christian deaconesses in order to find out what possible crimes were committed by Christians in their religious gatherings. John 1:14. D. and lyric of this music help me to appreciate the purity. They witnessed for the Lord by singing about Him and living godly lives in His honor. from every tribe and tongue and people and nation. 112. and especially in the book of Revelation.”28 What an inspiring pagan testimony about early Christian worship! Christians became known for singing to “Christ as if to a god. and God and man reconciled. and holiness of Christ? Does it magnify His character? Does it have appropriate
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. not for criminal purpose.”27 The celebration of Christ’s redemption is the basic theme of other New Testament hymns (Phil 2:6-8. The “Christcentered” singing done by the church on earth reflects the “Lamb-centered” singing done by the living creatures in heaven. present. to commit no breach of trust and not to deny a deposit when called upon to restore it. rhythm. and hast made them a kingdom and priests to our God” (Rev 5:9-10). robbery and adultery. Pliny found that “The sum total of their guilt or error amounted to no more than this. Thus heaven and earth are joined. and also to bind themselves by oath. It is evident that the main theme of their songs was Christ. They had met regularly before dawn on a fixed day to chant verses alternately among themselves in honor of Christ as if to a god. Heb 1:3). In a letter written in A.” and for binding themselves to follow His example in their lifestyle of purity and honesty. We noted in the previous chapter that the angelic choir around God’s Throne sings a new song saying: “Worthy art thou to take the scroll and to open its seals. A Pagan Witness. and future redemptive accomplishments? Does it give us a greater appreciation for Christ’s creative and redemptive love? If you are tempted to listen to rock music.

at least ostensibly. the Christian sources reflect almost the same attitude toward Hellenistic music as contemporary Judaism. He knew what would work in attracting people.”30 The same point is emphasized by the The New Grove’s DictioMain Menu
. Apparently Christians followed the tradition of the synagogue in prohibiting the use of musical instruments in their church services because of their pagan association. Eric Werner concludes his study of music in the early church: “Up to the third century. sometimes even of the harp and the lyre. No Instrumental Music in the Early Church. is present in the writings of numerous early Christian authors. William Smith concludes his survey of the critical attitude of church leaders toward the use of musical instruments by listing several reasons. None of the New Testament references to music examined above makes any allusion to musical instruments used by New Testament Christians to accompany the singing. but to those who are called. Undoubtedly Paul understood that music could be an effective resource to help the church fulfill the overwhelming tasks of evangelizing the Gentiles. and cymbal. He says: “For Jews demand signs and Greeks seek wisdom” (1 Cor 1:22). but by proclaiming to them what they needed.”
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Contrary to the current philosophy that rock music can be adopted and adapted to reach the secular society. a pure tone. a stumbling block to the Jews and folly to Gentiles. reflecting the purity and loveliness of His character. The very same distrust of instrumental accompaniment in religious ceremonies. seems to be the association of instruments with the worship of heathen cults. “But we preach Christ crucified. not by giving them what they wanted. (c) The sensuality of instrumental music and its aesthetic effects. The outright condemnation of musical instruments. of which the first three are as follows: “(a) Most important of all. Why? Because he wanted to reach people. tympanon [drum]. the same horror of flute.Biblical Principles of Music
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words. and a lovely melody? Music about Christ should be like Christ. (b) The employment of instruments at secular excesses as the theater and the circus. Christ is the power of God” (1 Cor 1:23-24). In his book The Sacred Bridge. But he chose not to use Gentile or Jewish idioms to proclaim the Gospel. In his dissertation on Musical Aspects of the New Testament. the early Christians distanced themselves not only from secular songs but also from the musical instruments used for secular entertainment and pagan worship. the accessories of the orgiastic mysteries are here in evidence. both Jews and Gentiles.

” The combined sponsorMain Menu
. The back cover of Shall We Dance? indicates that the book is “jointly sponsored by the Department of Education of the North American Division of Seventh-day Adventists. the John Hancock Center for Youth Ministry.” This study is the most ambitious project ever undertaken by the Adventist church to determine how well the church transmits its values to the new generation. however. The early church understood the fundamental truth that adopting pagan music. La Sierra University. Eventually this is what happened. Beginning from the fourth century when Christianity became the religion of the empire. could eventually corrupt the Christian message. ultimately results in the secularization of the church itself. Shall We Dance? A good example of this new trend is the symposium Shall We Dance? Rediscovering Christ-Centered Standards. the question has been reexamined. The lesson of history is clear. and La Sierra University Press. and witness.
Part 3 DANCE IN THE BIBLE There are conflicting opinions concerning dance and its use in the worship service of ancient Israel.”31 We cannot approve the early Christians’ radical rejection of all musical instruments for church services simply because they were used by the pagans in social and religious life. identity. The result has been the gradual secularization of Christianity.Biblical Principles of Music
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nary of Music and Musicians in its description of the early church: “The ban on dance in the worship service shows that rhythm did not have much of a place in the liturgy. a process that is still continuing today. besides tempting people to fall back into their pagan lifestyles. Yet we must commend them for recognizing the danger of bringing into the church the music and instruments which were associated with a pagan lifestyle. the church tried to reach the pagans by adopting some of their practices. including their music. Historically the Seventh-day Adventist church has maintained that the Bible does not sanction dancing. To evangelize people with their secular idioms. and the instruments used to produce it. This research was produced by twenty contributors and is based on the findings of the “Valuegenesis Study. especially by Adventist youth leaders who claim to have found biblical support for dancing. especially in the context of the worship service. In recent years.

asking: “How could we dance before the LORD today? What type of dance would it be? Why do people dance nowdays?”32 Surprisingly the author ignores that no dancing ever took place in the religious services of the Temple. Rather it is an invitation to open discussion regarding lifestyle issues.” consists primarily of a listing of twenty-seven Bible references to dancing.” A case in point are the four chapters devoted to dance and written by four different authors. some of the conclusions hardly encourage the development of “even better biblical principles. praise him with strings and pipe’(Ps 150:3-4).”34 This chapter presents this surprising challenge to the Adventist church: “As challenging as it is to our notion of respectability and decorum. The conclusions derived from an examination of the biblical view of dancing are concisely stated in five principles. synagogue. only four occur in a clearly negative context. These chapters present a very superficial analysis of the Biblical references to dance. For example.Biblical Principles of Music
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ship by four major SDA institutions suggests that the content of the book reflects the thinking of major Adventist institutions. and even these references nowhere describe dancing as the object of God’s displeasure. in my view. The author assumes that the texts are self-explanatory and supportive of religious dancing. because. or early church. dancing) in the Scriptures. Of some 27 references to dance (dance.”33 The author continues: “A half hour with a good concordance leaves the lingering impression that there is more to a truly Biblical perspective on dance than has previously met our Adventist eyes. but in some cases positively prescriptive: ‘Praise him with trumpet sound. it seems evident that Adventists should give new thought and study to the
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. Hopefully even better biblical principles will become the bedrock for our distinctive lifestyle as we move from the peripheral. without any discussion whatsover. praise him with lute and harp! Praise him with timbrel and dance. When we study Scripture we find that what it says about dance and dancing is not only not condemnatory. it must be stated that the opening statement of the introduction says: “The book is not an official statement of the Seventhday Adventist Church regarding standards and values. For the sake of accuracy. dances.” The clarification that the “book is not an official statement of the Seventh-day Adventist Church” is reassuring. but ever-present issues to the weightier matters of living the Christian life. This is indicated by the fact that he closes the chapter. the first of which says: “Principle 1: Dance is a component of divine worship. danced. the chapter entitled “Dancing with a User-Friendly Concordance.

synagogue. No dancing or entertainment music was ever allowed in God’s House.”36 It is important to note that David. Third. who did most of the dancing. and none of these relate to worship in God’s House.Biblical Principles of Music
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inclusion of dance as part of the worship of God. none of these references to religious dance were in conjunction with the regular established public worship of the Hebrews. because we noted that clear instructions were given regarding the ministry of music in the temple. I find this conclusion unsubstantiated and its challenge unnecessary. at least in selected communities and on special occasions. (2) The failure to recognize that of the twenty-eight references to dance or dancing in the Old Testament. The Levitical choir was to be accompanied only by string instruments (the harp and the lyre). After spending not “a half hour” but several days examining the biblical data relevant to dance. dancing as part of the Temple worship is nowhere traceable in either the first or the second Temple. If it were true that “dance is a component of divine worship” in the Bible. I wish to respond to the position that “dance is a component of divine worship” in the Bible by submitting what in my view are three major flaws of his methodology: (1) The failure to prove that dancing was indeed a component of divine worship in the Temple. For the sake of clarity. then why is there no trace of dancing by men or women in the worship services of the Temple. the synagogue. or the early church? Did God’s people in Bible times neglect an important “component of divine worship”? Negligence does not seem to be the reason for the exclusion of dance from the divine service. were excluded from the music ministry of the Temple. No Dance in the Worship Service. synagogue. only four times could they be considered to refer to religious dance. What was true for the Temple was also true for the synagogue and later for the early church. who is regarded by many as the primary example of religious dancing in the Bible. only four refer without dispute to religious dancing. and early church. and early church. (3) The failure to examine why women.”35 Three Major Flaws. which were commonly used for making dance music. Percussion instruments like drums and tambourines. Garen Wolf reaches this conclusion after his extensive analysis of “Dance in the Bible”: “First. of the 107 times these words are used in the Bible [Hebrew words translated as “dance”]. were clearly prohibited. never instructed the
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. Second.

We have seen that he gave clear instruction to the 4. Most people who appeal to the Bible to justify modern romantic dancing would not be interested in the least in the folk dancing mentioned in the Bible. The greatest annual dance took place. but by the celebration of religious events or festivals. What this means is that those who appeal to the biblical references to dance to justify modern romantic dancing inside or outside the church ignore the vast difference between the two. I have seen “The Dance Around the Ark” by the Coptic priests in Ethiopia. not by concerts or plays at a theater or circus.000 Levite musicians regarding when to sing and what instruments to use to accompany their choir. This point becomes clearer as we survey the references to dance. often through folk dancing by women or men in separate groups. His omission of dancing in the divine worship can hardly be an oversight. is misleading to say the least because there is a world of difference between the two. I could not understand why they called it “dance. It rather tells us that David distinguished between the sacred music performed in God’s House and the secular music played outside the Temple for entertainment. women. Contrary to prevailing assumptions. as we shall see. in conjunction with the Feast of Tabernacles.” since it was merely a procession by the priests who marched with a certain rhythmic cadence. Each group of men.Biblical Principles of Music
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Levites regarding when and how to dance in the Temple. David is the founder of the music ministry at the Temple. Had David believed that dancing should be a component of divine worship. We must not forget that the whole life of the Israelites was religiously oriented. and children did its own “show. when the priests entertained the people by doing incredible acrobatic dances the whole night. no doubt he would have given instructions regarding it to the Levite musicians he chose to perform at the Temple. The References to Dance. where many Jewish traditions have survived. where there was no physical contact between men and women. Entertainment was provided. only four of the twenty-eight references to dance refer without dispute to religious
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. An important distinction must be made between religious music played for entertainment in a social setting and the sacred music performed for worship in the Temple. To apply the biblical notion of dance to modern dance. including Sabbathkeeping. After all. No romantic or sensually oriented dancing by couples ever occurred in ancient Israel.” which in most cases was a kind of march with rhythmic cadence.

In fact this is the marginal reading given by the KJV. In this context it suffices to note that “these verses refer to a religious type of dance outside the context of the Temple worship. To avoid burdening the reader with a technical analysis of the extensive use of the six Hebrew words translated “dance. with reference to the daughters of Shiloh who went out to dance in the vineyards and were taken as wives by surprise by the men of Benjamin. but none of these have to do with public worship conducted in the House of God.” I will submit only a brief allusion to each of them. Psalm 150:4 reads: “Praise him with the timbrel and dance” [or “pipe. the term “dance” in these two verses is disputed.Biblical Principles of Music
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dancing. The Hebrew word karar is translated twice as “dance” in 2 Samuel 6:14 and 16 where it states. In both instances the references are to social folk dancing done by women.” More is said about the significance of David’s dance below. A close look at these texts shows that this popular assumption is based on a superficial reading and inaccurate interpretation of the texts.” KJV margin]. Michal the daughter of Saul looked out of the window. Linguistically. The Hebrew word chagag is translated once as “dance” in 1 Samuel 30:16 in conjunction with the “drinking and dancing” of the Amalekites. . “Praise Him with Dance. which means “to make an opening”38—a possible allusion to a “pipe” instrument. It is evident that this is not a religious dance.” In two important instances.” The same thought is expressed in verse 13. and saw King David leaping and dancing before the Lord. Again there is no doubt that in this context this word refers to a secular dance done by unsuspecting women. and is never used in conjunction with Temple worship. machowal is translated as “dance” (Psalms 149:3 and 150:4). 23.” Jeremiah 31:4 speaks of the “virgins of Israel” who “shall go forth in the dance of the merrymakers. Psalm 149:3 states: “Let them praise his name in the dance” [or “with a pipe. The word karar is only used in Scripture in these two verses. Some scholars believe that machowl is derived from chuwl. . “And David danced before the Lord with all his might . They are most important because in the view of many people they provide the strongest biblical support for dancing as part of church worship.
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. Psalm 30:11 uses the term poetically: “Thou hast turned for me my mourning into dancing. The Hebrew word chuwl is translated twice as “dance” in Judges 21:21.”37 The Hebrew word machowal is translated six times as dance.” KJV margin].

or to play drums in the church. and the instruments to be used to praise the Lord.Biblical Principles of Music
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Contextually. Celebration Dance. . there is no way in which God’s people can praise the Lord “in his mighty firmament. In Psalm 150 the list includes eight instruments: trumpet. 2) in every possible place and with every available musical instrument. in a highly figurative way. 21:11. The same is true of Psalm 150 which speaks of praising God. organs. clashing cymbals (KJV). Another important consideration is the figurative language of these two psalms. Jud 11:34. The Hebrew word mechowlah is translated seven times as “dance. Since the Psalmist is listing all the possible instruments to be used to praise the Lord. the praising is to be done with “two-edged swords in the hands. the term occurs in the context of a list of instruments to be used for praising the Lord. which hardly allows for a literally interpretation of dancing in God’s House.” In verses 7 and 8. namely. Psalm 149:5 encourages people to praise the Lord on the “couches. is to misinterpret the intent of the Psalm and to contradict the very regulation which David himself gave regarding the use of instruments in God’s House. harp. It is evident that the language is figurative because it is hard to believe that God would expect people to praise Him by standing or jumping on couches or while swinging a two-edged sword.” In verse 6. Miriam and the women danced to celebrate the victory over the
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. This psalm makes sense only if we take the language to be highly figurative. the reason to praise the Lord. the psalm mentions the place to praise the Lord. it is reasonable to assume that machowal also is a musical instrument. machowl appears to be a reference to a musical instrument. timbrel. the Lord is to be praised for punishing the heathen with the sword. For example. 2).” In five of the seven instances the dance is by women who celebrate a military victory (1 Sam 18:6. the eight listed above. To interpret the psalm as a license to dance. 29:5. string instruments.” because they live on earth and not in heaven. Nor it is intended to give a license to dance for the Lord in church. binding kings in chain. namely. according to his exceeding greatness” (v. Rather. . Ex 15:20). “for his mighty deeds . The psalmist calls upon God’s people to praise the Lord “for his mighty deeds” (v. and putting nobles in fetters. psaltery. in both Psalm 149:3 and 150:4. namely. whatever its nature might be. cymbals. “his sanctuary” and “his mighty firmament”. In other words. The purpose of the psalm is not to specify the location and the instruments to be used to praise for church music. its purpose is to invite everything that breathes or makes sound to praise the Lord everywhere.

Is 13:21. 21:11.” A fourth reference is to the classic example of “King David dancing and making merry” (1 Chron 15:29). The dances mentioned in the Bible were either processional. but so were the dances performed in conjunction with the annual festivals. which is translated four times as “to dance” with reference to the dancing of Herodias’ daughter (Matt 14:6. this was a family reunion of a secular nature and does not refer to religious dancing. Job 21:11.” The translation “dancing” is disputed because the Greek chorus occurs only once in this passage and is used in extra-biblical literature with the meaning of “choir” or “group of singers. Jephthah’s daughter danced to celebrate her father’s victory over the Ammonites (Jud 11:34). Women danced to celebrate David’s slaughter of the Philistines (1 Sam 18:6. mentioned in contrast “to a time to mourn. The second Greek word translated as “dance” is choros. The Hebrew word raquad is translated four times as “dance” (1 Chron 15:29. a religious festival. In view of the religious significance attached to David’s dance. Ecc 3:4). But these dances were not seen as a component of a divine service. In the remaining two instances. 29:5). We are told that when the elder son came close to the house “he heard music and dancing.Biblical Principles of Music
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Egyptian army (Ex 15:20). mechowlah is used to describe the naked dance of Israelites around the golden calf (Ex 32:19) and the dance of the daughters of Shiloh in the vineyards (Jud 21:21).
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. Miriam’s dance may be viewed as religious. special consideration is given to it shortly. encircling. Mark 6:22) and a children’s dance (Matt 11:17. or ecstatic. They were social celebrations of religious events. The same thing occurs today in Catholic countries where people celebrate annual holy days by organizing carnivals. Dance in the New Testament. The first is orcheomai. In none of these instances is dance a part of a worship service. Another is to “satyr dancing” (Is 13:21). Luke 7:32). A third instance is a poetic reference “to a time to dance” (Ecc 3:4). Once it refers to how “children dance” (Job 21:11). The conclusion that emerges from the above survey of the twentyeight references to dance is that dance in the Bible was essentially a social celebration of special events. Two Greek words are translated as “dance” in the New Testament. The word orcheomai means to dance in a rank-like or regular motion and is never used to refer to religious dance in the Bible. which may refer to a goat or a figure of speech. It is used only once in Luke 15:25 with reference to the return of the prodigal son. such as a military victory. or a family reunion.”39 At any rate. Dance was done mostly by women and children.

There is an allusion to the dancing of the Israelites at Shittim when “the people began to play harlot with the daughter of Moab” (Num 25:1). they cast off their fealty to Jehovah. or early church. I will cure you of backsliding.Biblical Principles of Music
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No biblical references indicate that men and women ever danced together romantically as couples. “While the mode of dancing is not known in detail. the Lord appeals to Israel through the prophet Jeremiah: “Return. . The worship of Baal and other idols commonly took place on the hill with dancing. a grand festival in honor of their gods was appointed by the king of Moab. Wolf observes. . reflecting on ourselves and our selfish desires. and it was secretly arranged that Balaam should induce the Israelites to attend. . Most indications of religious dancing in the Bible have to do with the apostasy of God’s people. In the chapter “Dancing to the Lord. reflecting an outburst of excitement for the glory of God. indulgence in wine beclouded their senses and broke down the barriers of self-control. .”41 There was shouting and dancing on Mount Carmel by the prophets of Baal (1 King 18:26). Apparently the strategy was suggested by the apostate prophet. As they united in mirth and feasting.”42 The implication of this statement seems to be that if we do not dance unto the Lord like David.”40 Furthermore. writes: “ We can dance to the Lord like David. Seventh-day Adventist youth leader.” found in the book Shall We Dance?. king of Moab. There is the dancing of the Israelites at the foot of Mount Sinai around the golden calf (Ex 32:19). Ellen White offers this comment: “At Balaam’s suggestion. or we can introspectively turn that excitement inward. contrary to popular assumptions. Balaam. As H. David Dancing Before the Lord. Surely the idolatrous commotion on the hills and mountains is a deception” (Jer 3:22-23. Beguiled with music and dancing. faithless people. NIV). synagogue. . The story of David dancing “before the Lord with all his might” (2 Sam 6:14) while leading the procession that brought the ark back to Jerusalem is viewed by many as the most compelling biblical sanction of religious dancing in context of a divine service. dance in the Bible was never done as part of the divine worship in the Temple. which normally entailed dancing. Dancing in Pagan Worship. . and there is no real evidence that they ever did. Thus. it is clear that men and women did not generally dance together. to Balak. we repress our excitement and reveal our selfMain Menu
. The strategy used by the Moabites women was to invite Israelite men “to the sacrifice of their gods” (Num 25:2). and allured by the beauty of heathen vestals. Timothy Gillespie.

Only the Levite priests had been set aside to offer sacrifices (Num 1:50). cf. Perhaps the reason David was not troubled by his uncovering during the dance is that this kind of exhibitionism was not uncommon. Such an action cannot be easily defended biblically. 10-11). Ellen White says that David danced “in reverent joy before God. David “was girded with a lined ephod” (2 Sam 6:14) like a priest and “offered burnt offerings and peace offerings before the Lord” (2 Sam 6:17). The problem is that nowhere does the Bible suggest that the ephod could be legitimately worn by someone who was not a priest. David may have become so excited that he lost his loin cloth. rebuked him. Instead. In the first place. and lay naked all that day and all that night” (1 Sam 19:24. 10:5-7. David’s dance before the ark poses serious problems. Such a response hardly reveals a positive aspect of David’s character. as one of the vulgar fellows shamelessly uncovers himself!” (2 Sam 6:20). and he too prophesied before Samuel. however. There is no mention. King Saul was severely rebuked by Samuel for offering sacrices: “You have done foolishly. his wife.Biblical Principles of Music
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centeredness. David did not dispute such an accusation nor did he apologize for what he did.”44 Undoubtedly this must have been true part of the time.”43 This is a plausible explanation. special dances were organized where priests and nobles would perform acrobatic feats to entertain the people. More problematic is David’s manner of dancing. It is a known fact that at the time of the annual festivals. The same holds true when it comes to sacrifices. he argued that he did it “before the Lord” (1 Sam 6:21). uncovering himself today before the eyes of his servants’ maids. of the priests uncovMain Menu
. and that he was prepared to make himself even “more contemptible” (1 Sam 6:22). But it would appear that during the dance. you have not kept the commandment of the Lord your God” (1 Sam13:13). By offering sacrifices dressed like a priest. saying: “How the king of Israel honored himself today. Why did David choose to exchange his royal robes for those of a priest? Ellen White suggests that David revealed a spirit of humility by laying aside his royal robes and attiring “himself in a plain linen ephod. Is this what the story of David’s dance teaches us? Let us take a close look at it. Note that the ephod was a sleeveless linen waistcoat garment to be worn only by the priests as an emblem of their sacred office (1 Sam 2:28). because Michal. To say the least. We are told that Saul also in an ecstatic dance “stripped off his clothes. David was assuming a priestly role in addition to his kingly status. David’s Behavior.

and the Levites made music with lyre and harp and cymbals and trumpets and countless other instruments. The most famous dance was performed on the last day of the Feast of Tabernacles. and then to have turned a somersault. . Men and women danced.Biblical Principles of Music
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ering themselves. were a form of social entertainment rather than part of a worship service. during the three days before Lent. Neh 7:66-67). The same is true for the various types of dances mentioned in the Bible. Ezra 2:64-65. They were social events with religious overtones. Women and Music in the Bible. in countries like Brazil. Why were women excluded from the music ministry of the Temple. In view of the religious orientation of the Jewish society. No Catholic would consider such dances as part of the worship services. singing songs of joy and of praise. During this celebration. They could be compared to the annual carnival celebrations that take place today in many Catholic countries. within the context of a religious event. when they were the main music makers in the Jewish society?
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. and of the synagogue and early church later? Numerous biblical passages refer to women singing and playing instruments in the social life of ancient Israel (Ex 15:20-21. . apparently because their music was associated with dancing and entertainment. 1 Sam 18:6-7. women were excluded from the music ministry of the Temple. such folk-type dances are often characterized as religious dances. . and it was known as the “Dances of the WaterDrawing Festival. people organize extravagant carnival celebrations with endless types of colorful and sometimes wild dancing. Curt Sachs notes that “Almost all musical episodes up to the time of the Temple describe choral singing with group dancing and drum beating. as noted below. but no references in the Bible mention women participating in the worship music of God’s House. Jud 11:34. But there is no indication in the Bible that any form of dance was ever associated with the worship service in God’s House.”46 Why then were women excluded from the music ministry of the Temple. In fact.” The Talmud offers a colorful description of this Water-Drawing dance which was performed in what is known as the women’s court of the Temple: “Pious men and men of affair danced with torches in their hands. Rabbi Simeon ben Gamaliel is said to have juggled eight torches. For example. And this kind of singing was to a great extent women’s music.”45 Dances done by men or by women in Bible times. not romantically as couples but separately in processional or encircling dances. similar to the Mardi Gras in New Orleans. first.

but on processes of movements. Secular Nature of Women’s Music. the style of music produced by women had a rhythmic beat which was better suited for entertainment than for worship in God’s House. “that I have not been able to find a single direct reference to women playing the nebel [the harp] or the kinnor [the lyre]—the instruments played by men in the music worship of the temple. The tabret or timbrel seems to have been a hand drum made up of a wooden frame around which a single skin was stretched. Robert Lachmann. One reason is musical in nature and the other sociological. an authority on Jewish cantillation.50 Thus. .The women’s songs belong to a species. “It is interesting to note. 1 Sam 18:6. in place of the rhythm of cantillation and its very intricate line of melody. 2 Sam 6:5. 14. “Women in the Bible were often reported as singing a nonsophisticated kind of music. the various songs reproduce these turns—or some of them—time and again. Thus we find here. or as rendered in the margin. Jer 31:4). They were somewhat similar to the modern tambourine. Isaiah asks: ‘Shall Tyre sing as an harlot?’ (Is 23:15.”49 It is noteworthy that female musicians were extensively used in pagan religious services. . Usually at its best it was for dancing or funeral mourning. In his satire about Tyre. toph. a periodical up and down movement. or timbrel.Biblical Principles of Music
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Scholars who have examined this question suggest two major reasons. women were not used in the ministry of music of the Temple because of the social stigma attached to their use of timbrel and the entertainmentoriented music. 24:8-9).”47 Women’s music was largely based on a rhythmic beat produced by tapping with the hand the tabret. The timbrel is also mentioned in connection with strong drink (Is 5:11-12.”48 The tabret or timbrel was played largely by women in conjunction with their dancing (Ex 15:20. . From a sociological perspective. ‘It shall be unto Tyre as the song of an harlot’). Jud 11:34. is quoted as saying: “The production of the women’s songs is dependent on a small store of typical melodic turns. the reason for their exclusion from the music
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. There can be little doubt that their music was mostly of a different species than that of the male Levite musicians who performed in the Temple. These are the only musical instruments mentioned in the Bible as being played by women and they are believed to be the same or very similar. the forms of which are essentially dependent not on the connection with the text. From a musical perspective.” writes Garen Wolf. KJV. Ps 68:25. 1 Chron 13:8. and at its worst to aid in the sensuous appeal of harlots on the street.

William Smith wrote: “A reaction to the extensive employment of female musicians in the religious and secular life of pagan nations. NIV).”51 The lesson from Scripture and history is not that women should be excluded from the music service of the church today. synagogue. This theological reason is recognized by numerous scholars. Singing is seen in the Bible as an offering of thanksgiving to the Lord for the blessings of creation. sensual entertainment. and salvation. not suitable for the divine worship. It is a divine gift to the human family through which human beings can express their gratitude to God while experiencing delight within themselves.Biblical Principles of Music
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ministry of the Temple. was doubtless a very large factor in determining Jewish [and early Christian] opposition to the employment of women in the musical service of the sanctuary. deliverance. It is unfortunate that the music produced by women in Bible times was mostly for entertainment and. how pleasant and fitting to praise him” (Ps 147:1. but from the very experience of praising the Lord. Praising the Lord with music is not a male prerogative. and early Christian churches was not cultural. It was the theological conviction that the music commonly produced by women was not suitable for the worship service. but the privilege of every child of God. because of its association with secular and. We found this concept expressed especially in Psalm 69:30-31: “I will praise God’s
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. “How good it is to sing praises to our God. This distinction was understood and respected in Bible times. sometimes. consequently. Those who are actively involved in pushing for the adoption of pop music in the church need to understand the biblical distinction between secular music used for entertainment and sacred music suitable for the worship of God. An attempt will be made to summarize them by way of conclusion. protection. The lesson that the church needs to learn from Scripture and history is that secular music associated with entertainment is out of place in God’s House. but theological. CONCLUSION Several important biblical principles relevant to church music today have emerged during the course of this study. Pleasure in singing comes not from a rhythmic beat that stimulates people physically. In his dissertation on Musical Aspects of the New Testament. and it must be respected today if the church is to remain a sacred sanctuary for the worship of God rather than becoming a secular place for social entertainment. Music has a special place and purpose in God’s universe.

such as a military victory. a religious festival. In the synagogue. intended to praise God by chanting His Word.” The correct translation as found in the NIV is “shouting for joy. The notion of praising the Lord for entertainment or amusement is foreign to the Bible. This lesson is taught by the Temple’s music ministry. more than a bull with its horns and hoofs. Most of the dancing was done by women who were excluded from the music ministry of the Temple. melodious. Music is to be God-centered. Those Bible texts that speak about making “a joyful noise” or “a loud noise” unto the Lord do not teach us to praise God with excessive amplification of the human voice or musical instruments during the worship service. In the early church the music was “Christ-centered.” God does care about how we sing and play during the worship service. which was performed by experienced and mature Levites who were trained musically. dedicated.Biblical Principles of Music
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name in song and glorify him with thanksgiving. or a family reunion. Nothing in the Bible indicates that men and women ever danced together romantically as couples. The Bible does not support the kind of romantic or sensual dancing which is popular today.” but with orderly. designed to praise God for the provision of forgiveness and salvation through the sacrificial offerings.” Music ministry is to be conducted by people who are trained. the music was “Wordcentered. Such a notion is derived from a mistranslation of ruwa as “loud noise. synagogue.” that is. when the church and the home are being invaded by various forms of rock music which blatantly rejects the moral values and religious beliefs
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. and spiritually minded.” that is. The biblical principles of music outlined above are especially relevant today. Percussion instruments which stimulate people physically through a loud and relentless beat are as inappropriate for church music today as they were for the Temple music in ancient Israel. We found that the music in the Temple was “sacrifice-centered. not self-centered. We have found that dance in the Bible was essentially a social celebration of special events. supported financially. and served pastorally. prepared spiritually. This principle established by God for Temple musicians is applicable to ministers of music today. and early church because their entertainment music was deemed unsuitable for the worship service. and intelligible singing. designed to extol Christ’s redemptive accomplishments. This will please the Lord more than an ox. He is not pleased with unintelligible “loud noise.” that is.

The same should be true in the church today. May the Lord give us the discernment and desire to fill our homes and churches with music that meets His approval. synagogue. At a time when the distinction between sacred and secular music is blurred.Biblical Principles of Music
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espoused by Christianity. But let those who hold to the authority of Scripture keep to music that praises God in a way which is neither sensational nor sensual—a music which reflects the beauty and purity of God’s character and celebrates His marvelous creative and redemptive accomplishment for the human family.
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. and early church. and many are promoting modified versions of secular rock music for church use. 96:9). we need to remember that the Bible calls us to “worship the Lord in the beauty of holiness” (1 Chron 16:29. No entertainment type of music was allowed in the Temple. cf. rather than the applause of the world. Those who disagree and want .to adopt pop music for their church services are free to have their own music . Ps 29:2.

During the 1980s he had his own rock band which was well-known in Norway.Chapter 8 THE EFFECTS OF ROCK MUSIC by Tore Sognefest
Tore Sognefest is a professional musician and pianist. Today. and social analysts. social. Currently he is serving as the Principal of a Seventh-day Adventist secondary school in Norway. Sognefest has authored a popular book The Power of Music. the effects of rock music are criticized not only by some politicians. He earned a Master’s degree in music from the Academy of Music in Bergen. preachers. the Third Reich decreed: “The so-called jazz compositions may contain no more than 10% syncopation. but also by accomplished musicians. He is a popular lecturer invited by different denominations to conduct music seminars. where he taught music for several years. religious. ****** The current controversy over the effects of rock music is largely based on aesthetic. The rest must consist of a natural legato flow completely void of the hysterical rhythmic turns so typical of the music of the barbarian races which appeal to the dark instincts so foreign to the Germanic race (the so-called ‘riffs’). Norway. Among other things.” because it was only a few years after the fall of Hitler’s empire that rock music came into existence with a stronger rhythmic driving beat than jazz. We are reminded of the attempts that Hitler made to eliminate the “primitive” and Negroid traits of black music by establishing norms to determine what constituted suitable music for the German people. Subjective evaluations of music can give rise to endless controversies. because they are based on personal taste and/or cultural considerations.”1 It is evident that the Third Reich did not succeed in eliminating “the hysterical rhythmic” music of “the barbarian races. -219Main Menu
. and/or political concerns rather than on scientific studies of its mental and physical effects on humans.

Consideration is also given to the impact of the deafening noise of rock music on the hearing. It considers.The Effects of Rock Music
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For example. loud rock beat on the human body. Due to length limitations. The goal of the pop industry. considering her only as a sex object.’ It is guilty of unlimited degradation of the woman. in my opinion. The first deals in a more general way with the influence of music on the human body. It portrays human beings without problems and restrictions.’”2 Some may wish to question the personal opinions of music critics like Bakkelund because they are based on subjective evaluation of pop music. Specific reference is made to how the rock beat places the human body under stress by increasing the pulse rate. and mental health. the blood pressure. social. scientific studies. dreaming about new sexual conquests. When measuring the effects of music stimuli. the well-known Norwegian concert pianist Kjell Bekkelund.
Part 1 THE INFLUENCE OF MUSIC Natural laws govern the chemistry of body and mind as well as the physical and mental effects of music. The second part examines some of the specific effects of the irregular. Based on several recent and significant. this chapter examines the physical and mental effects of rock music on human beings. and acceptance by ‘the upper crust. It is therefore imperative to look at scientific studies on the effects of rock music on the human body. the hormone production. These laws have been studied with scientific experiments and careful observations. relentless. Nevertheless. and the production of adrenaline. a spontaneous music experience involves much more than a measurable physical response. Objectives of This Chapter. Of course. social careers. researchers look for such physiological responses as the increased pulse rate and the electrical resistance of the skin. especially. only a sampling of the studies is cited.
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. Most people do not pay much attention to the laws of music and ignore the impact that music makes on their physical. The chapter is divided into two parts. it is the physical presence of sound that influences our reactions. seems to create individuals that ‘do not have to think. stated: “The pop-culture represents a basic human lie. how music affects the functioning of the brain. and the rhythms of the body.

The sound waves (vibrations) hitting the ear drum are transformed into chemical and nerve impulses which register in our mind the different qualities of sounds we are hearing. What many do not know is that “the roots of the auditory nerves—the nerves of the ear—are more widely distributed and have more extensive connections than those of any other nerves in the body. the master brain is automatically invaded. [Due to this extensive networking] there is scarcely a function of the body which may not be affected by the pulsations and harmonic combinations of musical tones. the common denominator is that auditory stimuli directly affect the nervous system. we need to be aware of the basic processes that take place in the human ear at the sound of music. can still arouse by way of the thalamus—the relay station of all emotions—sensations and feelings. This trend reflects the consumeristic orientation of our society where many people stuff themselves uncritically with inferior “junk food” which causes numerous psychological as well as physical disorders.C.”5 bypassing the master brain.. .6 Though conclusions of various studies differ. makes the greatest impact on the autonomous nervous system through its auditory pathways.”3 The investigation into the influence of music on the human body has largely been conducted by a branch of medicine known as “music therapy. more than the other senses. D. such as the lack of concentration and learning disabilities among school children and young students.The Effects of Rock Music
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Today the choice of music is largely determined by personal taste. The American government funded this research because of the acute need for psychiatric treatment of the war veterans who suffered injuries connected with shell shock during World War II. The Music Research Foundation was established in Washington. Researchers found that music is registered in the part of the brain which normally is stimulated by emotions. Sound Waves and the Brain. A most important discovery was soon made. . one of the researchers.”4 What this means is that “music attacks the nervous system directly. in order to explore and develop new methods for controlling human behavior and emotions. explains that “Music. The same uncritical attitude is found in the consumption of inferior and harmful music. Studies have shown that the impact of music on the nervous system and the emotional changes brought about by the thalamus directly or
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. To appreciate the effects of music. . Some researchers are of the opinion that the sense of hearing.” In 1944. Once a stimulus has been able to reach the thalamus. bypassing the brain centers dealing with intelligence and reason. which does not depend upon the master brain (centers of reason) to gain entrance into the organism. Ira Altschuler.

the adrenal cortex and the sexual glands. These glands are controlled by the thalamus which is closely connected with our emotions. Mary Griffiths. . respiration. He found that when he played rapid rhythms his dogs reacted with excitement. because one can hardly generalize the concept of music or use such elementary models to explain psychological problems.8 While recognizing the conceptual limitations of music. Norway. digestion. as well as the production of sex hormones. University of Oslo. It also influences the electric skin resistance of the body which. like the heart and the respiratory organs.7 This helps us understand why the relentless driving beat of rock. affects and governs the moods of a person.”9 Ruud points to recent research which proves that music might influence the monthly cycle of women. . Pavlov. a physiologist. thus making it difficult to generalize its effects. Ivan P. Thus it influences the speed of metabolism . It is a well-known fact that the endocrine system regulates not only the functions of the internal organs.11 While it is true that the response to music varies with each individual. in turn. He published the results of his experiments around the beginning of the century. but also the endocrine glands.10 Other studies indicate that music releases adrenaline and possibly other hormones. slower rhythms had a calming effect. Hypothalamus has a marked effect on the release of the autonomous responses brought about by fear. hormonal balance.
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. blood pressure. When exposed to syncopated rhythms. and moods and attitudes. directly impacting the body. explains that “the hypothalamus controls the excretions of the thyroid gland. A Russian scientist. . sound researcher and music professor at The Institute of Music. Music and Hormone Production. One study has also found an increase of the luthenizing hormone (LH) while listening to music. Even Ruud. other researchers have reached some specific conclusions. anger. . The Effects of Rhythm. and other emotions. the fact remains that the music industry and the world of business know how to use music to create or change moods and to sell merchandise. . conducted experiments on the effects of music on dogs.The Effects of Rock Music
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indirectly affect such processes as the heart rate. His research contributed significantly to the development of the field of behavioral psychology in America. maintains that an understanding of the automatic connection between music and emotional reactions poses some problems. Pavlov conducted tests on the reflex reactions of his dogs to rhythm. can have such a wide range of physical and emotional effects.

Similar reactions occurred a few years later when Arnold Schönberg’s atonal twelvenote music (music without fixed tonality. On the contrary. fighting broke out between those who disliked the music and those who liked it. Rhythm: A specific allotment of time given to a note or syllable in a verse and the time meter of a composition of music. Today.The Effects of Rock Music
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the nervous systems of the dogs seemed manipulated. Social analysts are greatly concerned because it seems that only through a heavily pulsating rock beat is it possible to get through to the young people. hard rhythms. It took only a few minutes before the concert hall was boiling with rebellion. and they appeared to be confused and did not know how to react. This break from the old music traditions seems to have heralded a new age characterized by experimentation with hard rhythms. This composition caused a violent reaction. This in turn shuts them out from other types of listening experience. The music consisted of a series of discords coupled with disconnected and incoherent and violent rhythms. no longer cause popular uproars. Tone color: The quality of the sound produced by instruments or the voice. European concert audiences were given a foretaste of the effects of rhythm when Igor Stravinsky’s symphonic work “Rite of Spring” was performed in Paris in 1913. Long before the emergence of rock music. Harmony: The stacking of tones so as to create chords. Ruud also expresses this concern: “My concern is that pretty much all music for children and youth must be rhythmically appealing in order to break through the sound barriers. Shortly after its opening movement. After ten minutes. One might wonder whether it was the hard rhythms of the music or the protest against this new kind of music that caused the uproar. The asynchronic rhythms made them very bewildered.
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. They explain that good music should consist of a combination and balance among five basic elements: Melody: Tones arranged to make a tune.”12 Consonance or Dissonance? Critics of rock music generally appeal to the harmful physical effects of its rhythm which overshadows the melody and lyrics. like those of rock music. neither major nor minor keys) hit the European concert public like a lightning bolt. the audience seemed to be in a state of shock. many have become addicted to them. The driving beat of rock music is dominating the everyday life of young people in many parts of the world.

still leaves the patient able to count and clap in time. The tone color is dependent upon the combination of the vibrations of the natural overtones inherent in each note. enhancing coordination. Each note vibrates at specific frequencies. Intervals like thirds. One function has been to ease the monotony of labor by synchronizing the movements of workers.The Effects of Rock Music Tempo: The speed of the rhythm in which the piece is to be played or sung. A middle “A” vibrates 440 times per second.
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Every one of these five elements consists of rhythmic vibrations and/ or rhythmic cycles. This is especially true of the Negro Spirituals which trace their origins to the work songs of the African Americans in slavery. and improper digestion. Tests conducted in places of work have shown that unless the
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. A perfect fifth and a perfect octave sound very harmonious due to the mathematical simplicity present in their relationship. syncopation. Music has been used for different purposes during the course of human history.”13 Our body’s association with certain elements of music is so profound that “short of numbing the entire brain. fifths. neurologists have been unable to suppress rhythmic ability. In fact. Various Uses of Music. If we mix other notes of varying frequencies. Exposure to music with “harmonic” rhythms reinforces the rhythmic cycles of the human body. By contrast. other combinations and qualities of sound appear either in the direction of consonance or dissonance. and harmonizing moods and emotions. or many regions at once. Harmony has to do with the combination of notes in a vertical relationship. or inappropriate tempo—can result in a variety of changes including: an altered heart rate with its corresponding change in blood pressure. an overstimulation of hormones (especially the opiates or endorphins) causing an altered state of consciousness from mere exhilaration on one end of the spectrum to unconsciousness on the other. synchronizing nerve messages. and polyrhythms. or sixths appear to the listener as harmonic or consonant compared with seconds and sevenths which sound discordant because of the frequency relationship between the notes.”14 The studies on the effects of “disharmonic” rhythms on the human body help us to understand better why the emphatic rhythm of rock music exercises such an hypnotic influence on the lives of so many people today. many folk songs originated in this way. Doping either side of the brain. exposure to music with “disharmonic” rhythms— “whether it be the ‘tension’ caused by dissonance or ‘noise’ or the unnatural swings of misplaced rhythmical accents.

“Specially selected music increases the working capacity of the muscles. This has been true for the festive celebrations of the ancient wild orgies of the Dionysius cult.15 In the Soviet Union. Western psychologists may find this phenomenon difficult to explain. At the same time. music is used also for healing. When soldiers get tired. a rousing march creates increased energy. This kind of music psychology might not accept the claims that music possesses universal qualities that effect the listener regardless of culture and education. The “medicine man” plays a rhythmical pattern which has a hypnotic effect on the mind of the patient.18 Music Rhythm and Body Rhythm. On account of this automatic muscular reaction. for them to remain motionless would require conscious muscular restraint.”16 Rhythm has also been used to excite people during religious rituals. Van de Wall. the war and religious dances among the American Indians. Ruud notes that “when such a healing ritual actually works we might find it difficult to assess the role of the music. Ruud observes: “It looks like the tensionregulating elements of rhythm are consciously being used. and the voodoo rites of West Africa. legs and feet in motion. especially for those of us who are rooted in the present educational-psychological orientation. precision and accuracy suffer. explains: “Sound vibrations acting upon and through the nervous system give shocks in rhythmical sequence to the muscles.The Effects of Rock Music
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music is adjusted to the particular environment and type of work. In his book Music in Hospitals. Music with a strong rhythm causes a senso-motoric reaction in the human body. rhythmic. and monotonous dances usually result in trance-like reactions. an institute for medical and biological studies reported test results showing that music rhythm and tempo had an immense impact on the human organism. The tension-building music is contrasted by a freer and more syncopated form designed to serve as a kind of release towards the end of the ritual. It is as if the music determines a good rapid rhythm of movement.17 In many cultures. The shamans use drum patterns to achieve contact between humanity and the occult dimensions. which cause them to contract and set our arms and hands. During the gradual progress of the ritual the rhythmic tension is regulated so that it corresponds to the spirit of that particular disease. These repetitive. the tempo of the movements of the worker changes with the change of the musical tempo.”19
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. many people make some movement when hearing music.

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Rhythmic elements are definitely present in the human body and in other organisms. Psychologist Carole Douglis states: “We are essentially rhythmic creatures. Everything, from the cycle of our brain waves to the pumping of our heart, our digestive cycle, sleep cycle—all work in rhythms. We are a mass of cycles piled one on top of another, so we are clearly organized both to generate and to respond to rhythmic phenomena.”20 Every human being functions according to a rhythmic tempo. This is partly related to the rhythm of the heart, which runs between 60 and 120 beats per minute. A normal pulse runs between 70 and 80 beats per minute. Some studies indicate that people seem to function best when they associate with persons who have a similar rhythmic “tempo.” We tend to react unfavorably to people who are either too keyed up or too slow.21 These rhythmic or cyclic phenomena may be observed on all levels of biological organization. Within an organism, processes appear that are not only accidental and self-controlled, but also self-amplifying and essential to life, like the brain activities, the heartbeats, and the respiratory cycle. All these life-important rhythms are synchronized with other cellular activities and cooperate harmonically with all the other bodily functions.22 Problems occur when we tamper with cycles and body rhythms. This is a well-known fact in medicine. When the body is exposed to many and continuous disharmonic stimuli, several of the stress mechanisms of our body are put in a state of alert. If these defense mechanisms are overly strained, the natural harmony of the biological rhythms is disturbed. This causes disharmony and may lead to collapse. Unless the balance is restored, the stress situation may result in a fundamental pathological disorder. Researchers have observed a connection between disturbance of the body rhythms and such diseases as diabetes, cancer, and respiratory ailments. Since most regulatory mechanisms are neutral in origin, it is not surprising that many pathological alterations could also occur in neutral structures. In the case of brain cells, this “disordering” can manifest itself not only in the physical state of neurons but also in the harmony of their functioning. Consequently, the behavior of the organism may become seriously affected.23 We find examples of this kind if we deprive persons of sleep or let drops of water constantly hit their forehead, a method used in torture of prisoners. Researcher David A. Noebel says that the rhythm in rock music creates an abnormally high secretion of sex and adrenaline hormones and may cause changes in the blood-sugar levels and the amount of calcium in the body.24

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Since the brain receives its nourishment from the blood sugar, its function decreases when the blood sugar is directed to other parts of the body to stabilize the hormonal balance. At the point when insufficient blood sugar reaches the brain, moral judgment is greatly reduced or even completely destroyed. This is what happens when the rhythm of rock music changes the blood-sugar levels in the body. Part 2 THE EFFECTS OF ROCK MUSIC To better understand the effects of rock music on the human body, it is important to know first of all how the music rhythm works. The rhythmic element of music consists of measurements of time divided into bar cycles. The most common time units are groups of bars containing two beats (double time), three beats (triple time), or four beats (quadruple time). In quadruple time (like 4/4 time), the main natural accents fall on beats one (the primary accent or stress) and three (the secondary accent or stress). The primary accent on one is, of course, the stronger of the two. This could be illustrated as follows: ONE, two, THREE, four. In rock music and similar forms, the accent pattern is reversed, so that beats two and four are accented instead of one and three, as pictured in the measure that follows: one, TWO, three, FOUR. By reversing the order, rock makes the rhythm the most important part of the sound and creates a conflict with the body’s natural rhythmic cycles. This effect, known as “back beat” or “break beat,” causes nervous tension (a “high”) because it goes against the rhythm of the heart beat and other rhythms of the body. Addictive Power of Rock. The “high” caused by the irregular rock rhythm increases the heart rate, weakens a subject’s strength, and has addictive power. Psychiatrist Verle Bell offers a graphic explanation of how the rock beat causes addiction: “One of the most powerful releases of the fight-or-flight adrenaline high is music which is discordant in its beats or chords. Good music follows exact mathematical rules, which cause the mind to feel comforted, encouraged, and ‘safe.’ Musicians have found that when they go against these rules, the listener experiences an addictive high.”25 Bell continues noting that “like unscrupulous ‘diet’ doctors who addicted their clients to amphetamines to ensure their continued dependence, musicians know that discordant music sells and sells. As in all addiction, victims become tolerant. The same music that once created a pleasant tingle of excitement no longer satisfies. The music must become more jarring, louder, and more discordant. One starts with soft rock, then rock ‘n’ roll, then on up to heavy metal music.”26
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John Diamond, a New York physician, has conducted numerous experiments on the effects of rock music. In 1977, he served as president-elect of the International Academy of Preventive Medicine. He found that rock music is the most serious form of noise pollution in the United States. Particularly harmful is the rock music which employs an “anapestic” beat, where the last beat is the loudest, such as “da da DA.” According to Diamond, this kind of music can “heighten stress and anger, reduce output, increase hyperactivity, weaken muscle strength and could play a role in juvenile delinquency.”27 Body’s Rhythm Under Stress. These behavioral disorders occur, according to Diamond, because rock music causes a breakdown in the synchronization of the two sides of the brain so that the symmetry between the two cerebral hemispheres is lost. He conducted an experiment in a New York factory where rock music was played all day. When the music was switched to non-rock, Diamond found that plant productivity increased by 15% while the number of errors made decreased by the same number.28 Diamond published his findings in the book Your Body Doesn’t Lie. He explains that the anapestic beat, characteristic especially of rock music, is disruptive because it is the opposite of the heartbeat and thus places the normal body’s rhythm under stress. This results in perceptual difficulties and manifestations of stress. In young people these manifestations may include decreased performance in school, hyperactivity and restlessness, decreased work output, more errors, and general inefficiency. In adults the symptoms include reduced decision-making capacity on the job, a nagging feeling that things just are not right, and the loss of energy for no apparent reason.29 In his own laboratory, Diamond tested the effects of rock music by measuring the strength in the deltoid muscle of the arm. He found that a normal man could withstand about 45 pounds of pressure on the arm, but this was reduced by about a third when the anapestic beat was played in the background.30 The purpose of Diamond’s research was not to seek a ban on rock music, but to warn people against its dangers. He surmised: “Rock music is not going to kill anybody, but I really doubt if Mick Jagger is going to live as long as Pablo Casals or Segovia.”31 Russian researchers came to similar conclusions. They found that rock music has “a tremendously harmful psychic effect.”32 Addressing a rally of Russian youth, the medical team who conducted the experiments announced that rock music was “like a series of alarm signals, causing surges of concentrated energy which must be released somewhere.”33 The energy is
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channeled into brawls and fights which, the Russian doctors pointed out, is a common feature of Western rock concerts.34 Even Ruud explains how loud and rhythmic rock music creates a need for muscular reactions and bodily movements: “If the stimulus of sound via the brain stem and the limbic system is unable to express itself in terms of physical motion, it may result in unfortunate stress symptoms, that is, an increased alertness and alarm preparation in the system that find no release. Seeing that this condition is dependent on the intensity of the stimulus, we may understand why people exposed to noise would be prone to experience stress symptoms. Loud and syncopated music will likewise create extensive limbic activity plus vegetative and hormonal reactions, or stress reactions. These forces might be neutralized by means of dance.”35 The Pulse Rate. An important measurable effect of the rock beat is its influence on the rhythm of the heart, irrespective of whether the body is in motion or not. Ann Ekeberg, a secondary college teacher and music researcher, involved some of her colleagues—music teachers—in experiments with their students. Before the test, each student’s pulse was recorded. Then a hard rock record was played for 5 minutes. During the test, students remained quiet in their seats. At the end of the test, the pulse rates were checked again and an average was recorded. The result showed an increase in the pulse rate of 7-12 beats per minute while rock music was played. The six columns below represent the school classes which participated in Ekeberg’s experiment. The dark gray column represents the pulse rate before the rock music was played and the light grey column the pulse rate after the students had listened to 5 minutes of hard rock. To test the validity of Ekeberg’s results, I conducted my own tests on my students at the Bergen SDA secondary school in Norway. We recorded an average increase in pulse rate of 10 beats per minute when the students listened to “Hell’s Bells” by the group AC/DC. When we played an “Air” by Bach, the pulse rates went as low as 5 beats per minute below their normal pulse. The difference of 15 heartbeats per minute is quite remarkable. It is fair to say that I chose two very different pieces of music. It is noteworthy that students who were fans of AC/DC had stronger responses than those who disliked the music. The test proves that various types of music affect us physically in different ways. The excess energy generated by the rock beat causes the heart to beat faster, even when the subject is sitting still on a chair. This may explain why rock fans find it difficult to sit still while listening to pulse-accelerating music. Their accumulated energy craves for some kind of release.
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90 80 70 60 50 40 30 20 10 0 Kl. 5 Kl. 5-6 Kl. 9 Kl. S1 Kl. N1 Kl. H1

The Norwegian music professor Even Ruud conducted similar tests on the effects of rock music at the Karajan Music Institute in Salzburg. He found: “Syncopated rhythms are especially able to cause extra systolic beats, beats that come too soon. It is also possible to increase the pulse rate by dynamic changes, like the crescendo and decrescendo of a drum roll. . . . Physiological reactions are dependent on the type of music being played. Forms like dance music or marches tend to trigger motoric responses, while other forms seem to cause changes in respiration and pulse rates.”36 Increased Production of Adrenaline. Roger Liebi, a Swiss musician and expert in biblical languages, maintains that an increase in pulse rate also increases the blood pressure. In turn, this leads to an increase in the production of adrenalin. This process is a defense mechanism against stress, which helps to keep the body on the alert by increasing the blood flow in the muscles and easing the intake of oxygen.37 If the pulse stress continues, as with a lengthy rock concert with loud and monotonous music, an excessive amount of adrenalin is produced, which the enzymes of the body are unable to dispose of. The result is that some of the adrenalin changes into another chemical called adrenochrome (C9H9O3N). This is actually a psychedelic drug similar to LSD, mescaline, STP, and psylocybin. Adrenochrome is a somewhat weaker composition than the others, but tests show that it creates a dependency similar to other drugs. “One cannot therefore be astonished when the public at rock concerts or in discotheques get ‘high,’ go into a trance and lose selfcontrol.”38
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The increased secretion of hormones caused by rock music is confirmed by other studies. David Noebel, a medical researcher, explains: “Under rock music, the secretion of hormones is more pronounced . . . which causes an abnormal imbalance in the body’s system, lowers the blood sugar and calcium levels and impairs judgement.”39 He cites medical research indicating that “The low frequency vibrations of the bass guitar, along with the driving beat of the drum, affect the cerebrospinal fluid, which in turn affects the pituitary gland, which in turn directs the secretions of hormones in the body.”40 Human reaction to rock music is so overwhelming that neurologists have been unable to suppress the physical response to its rhythms. Experiments have been made to dope each half of the brain or several areas of the brain simultaneously, but the patient still responds to beat of the rhythm.41 Pulsating Light Effects. The rhythmic stimuli of rock music can be intensified with pulsating lights. For example, laser and strobe lights used in discotheques and in rock concerts intensify and amplify rhythmic manipulation. Jean-Paul Regimbal, a Canadian researcher, explains how the phenomenon works: “Lights that constantly change their color and intensity disturb the ability for orientation and the natural reflexes. When the change between light and dark takes place six to eight times per second the sense of depth is seriously impaired. If this happens 26 times per second the alpha waves of the brain do change, and the ability to concentrate is weakened. Should the frequency of change between light and dark exceed this and last for a considerable length of time, one’s control over the senses might cease completely. For this reason it is no exaggeration to claim that rock combined with light effects results in a downright ‘rape of one’s consciousness.’”42 Bäumer, a German researcher, comments on the effects of such manipulation on the bodily functions (especially at extreme levels): “The person enters an ecstatic state with epileptic-like cramps, in which he or she screams, bites, roars with laughter, urinates, and tears his or her clothes in an intense feeling of joy and happiness.”43 For this reason, people prone to epileptic seizures are warned to stay away from discotheques where strobe lights are being used, seeing that these pulsating lights tend to cause seizures. A combination of lights and sounds intensify the effects of the rhythm, because the body is unable to decide whether the in-coming rhythms are compatible with its own. The secret behind rhythmic manipulation is found
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in the sound and light waves that affect the nervous system by acting like sequential shocks to the muscles, causing the arms and legs to move. This explains why people at a rock concert find it hard to resist the urge to move. To remain immobile would require considerable restraining effort. The above phenomena are easily observed in the popular rock culture and rave parties where light and sound are used in rapid alternation, with monotonous and repetitive patterns, in order to make the maximum effect on the audience. Peter Bastian, a well-known Danish musician and teacher at The Royal Music Academy of Copenhagen, describes how relatively simple and peripheral elements can manipulate individuals so that their behavior changes unconsciously. “I once observed a somewhat scary scene involving a boy and a slot machine. The music from the machine contained a subliminal message in the form of heartbeats that gradually increased their frequency. The boy got more and more excited and finally threw himself at the machine.—He couldn’t ‘hear’ the heartbeats, but the ‘message’ had its effect.”44 Ann Ekeberg refers to a similar example. During a rock concert in Sweden, panic gripped the audience and three persons were trampled to death while many others were hurt. While the police and paramedics tried to revive the sufferers, the youthful crowd hurled all sorts of swear words and insulting remarks at them. In an interview, Jan Agrell, a Swedish professor and a specialist in mass psychosis, commented on this behavior: “A crowd possessed by mass psychosis behaves like a stampeding herd of buffaloes, and you will not be able to get through to them. . . . Pop music has magic power and causes people to act in unison.”45 A Deafening Noise. Volume is a most important element in rock music. Stacks of equipment are needed to produce the required amount of amplification in order to make the desired physical impact. Volume for volume’s sake is a defining trademark of hard rock. Lemmy Kilminster, of the popular rock band “Motorhead,” told Hit Parader that his group wanted to see “blood coming out of everyone’s ears, if possible. Nothing dangerous, just enough to let us know they are having a good time.”46 If rock music must be played so loud to cause blood to come out of people’s ears to ensure that “they are having a good time,” then it can hardly be said that there is “nothing dangerous” about it. On the contrary, numerous scientific studies have shown that the high noise level of rock music can harm the body in several ways. In controlled experiments, Andrew Neher discovered that rhythmic drumming has neuro-physiological effects, resulting in auditory driving
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back pulsing. For many years. The long-term effects of constant listening to loud rock music cannot be determined. a medical researcher.”52 He concluded: “Acoustic trauma from rock ‘n’ roll music is emerging as a very threat to the hearing quality of young people who expose themselves to substantial durations of this music by live rock groups with high amplification.The Effects of Rock Music
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responses (changes in the electric potential in the brain) which can be measured on the electro-encephalograph.54 He warned against headphones: “Unfettered by parental monitoring. Ralph Rupp. rattling. especially hearing loss. the medical profession has warned that loud rock music can cause problems. Charles Lebo.47 Neher added that subjective responses included “fear.”50 He concluded: “Since the inner ear damage of the type produced by noise exposure is cumulative and permanent. In 1967. agrees with Nader that local government should enforce a 100-decibel level on rock played in clubs. He found that the noise levels “were capable of producing both temporary and permanent inner ear damage in the musicians and audience.”51 Even Ralph Nader. The highlights of his speech were reported in the magazine High Fidelity: “The very sound of this amplified art form may present as great a trauma to the inner ear as the general quality of the music often does to the inner man.”53 Impaired Hearing.”48 Such responses are hardly compatible with the spirit of Christianity. became involved in this issue and proposed that Congress should classify rock music above certain prescribed decibels as a “public nuisance. tone in background. stiffness in the chest. the desirability of lower levels of amplification for this type of live music is apparent. presented a paper on the subject to the California Medical Association.”55 Many young people spend their days completely wrapped in a sound blanket through the use of a Walkman outfit. a well-known American consumer activist. astonishment. an audiologist at the University of Michigan Speech Clinic.
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. visual and auditory imagery. muscle tightening. humming.” and other forms of stereo systems at home as well as in discotheques and other places of entertainment. they may pulse to the rock ritual with such an abandon that permanent damage to the inner ear is almost assured. amusement. portable “sound blasters.”49 Lebo made sound measurements of rock music in two San Francisco establishments where he recorded noise levels between 100 to 119 decibels at the rock joints.

”57 The music industry is obviously capitalizing on the effects of the strong vibrations of the bass especially present in rock music in order to induce the physical stimulation many are seeking for. Some rock concerts may reach volume levels of 110-135 decibels. the Norwegian Broadcasting Company. We have tested this particular volume on people and have seen how they respond with rapid sexual arousal. ran some tests aimed at the problem of loud sounds and impaired hearing. The three tests showed that 40% or 50% or 70% of musicians experienced loss of hearing due to the extreme volumes at rehearsals and performances. while the threshold for damage to the hearing stands at 85 decibels. These impairments proved to become increasingly noticeable with age. Manufacturers of sound systems know fully well what effects sound amplification has on people. For this reason. It is also important that the bass has the right effect. It penetrates our body and affects our nerves. causing the listener to lose the benefits of his or her controlling mechanisms. Researchers are of the opinion that this problem is a social catastrophe of alarming dimensions. the manufacturers continuously strive to improve the effects of the kilowatts so that the physical effects may reach ever increasing heights. it affects the listeners as well. “Absolutely! If the sound system performs properly we can manipulate it so that people get sexually aroused. a loudspeaker production plant in Los Angeles. NRK. All kinds of loud music. The bass is what actually governs and directs our feelings. Hearing tests on persons enlisting in the military services in Norway revealed a marked degree of hearing loss among the youth.The Effects of Rock Music
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In 1992. director of Cerwin Vega. They seem to find it hard to resist. but the electrically amplified music is definitely the greatest problem. But the volume must be right. Evidence for the negative effects of rock music comes from different sources and countries. Geoffrey Marks. In closing. even powerful passages from a symphony orchestra. I cite a report filed from Moscow by correspondent Martin Walker for the English newspaper Times on Sunday. he said. These vibrations hit below the belt. This is not a problem limited to the performers only. Walker reports that a Russian research project Sovyetskaya Rossiya made “a
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. and some were plagued with a constantly piercing tone generated in the ear (tinnitus). acknowledges that tests show that one becomes sexually aroused when dancing to music at a volume of 100120 decibels. Many found it difficult to hear general conversation.56 When asked if disco music might have a similar effect. The walkman is regarded as one of the worst culprits. might pose problems. The low bass frequencies have a powerful influence on body and emotions.

rock music makes it impossible to reflect on truth. head of the psychology department at Bashkiria University. and the avalanche of decibels makes rock music capable of blasting the emotions and the mind. and production of adrenalin. and emotional aspects of our body should be of great concern to Christians who accept the summons to consecrate their whole being as “a living sacrifice. and attitudes. “The wilder the music. their hands start to tremble and their pulse becomes irregular. Aminev.”60
CONCLUSION Scientific investigations have shown that music affects the heart rate. loss of attention. This means that we are witnessing a certain kind of illness. rhythms of the human body. and by impairing the hearing quality of people. integrity.”58 Professor G. The irregular. honesty. the lower is the young people’s working ability. for it seems connected with the appearance of the morphine type substances which induce ‘pleasure. digestion. The constant repetition. Some of them refused to continue with our experiments after the third day. mental. to offer a “rational [logike in Greek] worship” (Rom 12:1). above all. holy and acceptable to God” (Rom 12:1). and. More importantly. respiration. blood pressure. hormonal balance. we have found that rock music does not just tickle the ear—it jams the brain like a freight train. they become more irritable.
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. relentless. The enormous influence of music on the physical. neural networks of the brain.’”59 Professor Aminev continues explaining that studies of Russian school children exposed to heavy-metal discos showed “a worsening of memory.The Effects of Rock Music
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stunning discovery” regarding rock music. If they are isolated from such music for a week their general level of health declines. moods. It seems that rock music does not only have a psychological influence but a biochemical one too. found that “Heavy metal listeners are affected by the psychophysiological mechanisms of addiction. blood pressure. a fall in reading speeds. the incessant beat. By impairing the functioning of the mind. and loud beat of rock music places the human body under stress by increasing the pulse rate. and an increase in aggressiveness and stubbornness.

it is the most popular music in the world. The second part of the chapter considers some of the characteristics of the societal worldview which have favored the flourishing of rock music. Johansson is Professor of Music at Evangel University in Springfield. Attention is given to the inadequate evangelical criticism of rock music and to the influence of the secular culture upon the church. Rock. Missouri. This chapter is divided into two parts. highly instrumental in revolutionizing the most revered values of American society. Both of these books are widely used for university and seminary courses on church music and worship. Fifty years after the advent of rock ‘n’ roll. even naive. -239Main Menu
. Take away rock and its spin-offs and one has little musical activity left. Johansson
Calvin M. The first examines some of the factors which contributed to the gradual acceptance of pop music into the Christian church.Chapter 9 HOW POP MUSIC ENTERED THE CHURCH by Calvin M. questioning the validity of rock is considered as decidedly uncool. ***** It is remarkable that a book such as this should still be thought important enough to be published at this juncture in history. His parish ministry as music director and organist spans a period of over forty-five years. he has authored numerous articles and two books: Music and Ministry: A Biblical Counterpoint. and Discipling Music Ministry: Twenty-First Century Directions. is now an established and accepted fact—a major part of the national musical scene. Not only is it the most popular music in the United States. One hears the unmistakable sounds of its strident tangle of ingredients everywhere. Objectives of This Chapter. A well-known lecturer. He earned his Master of Sacred Music at Union Theological Seminary and his doctorate in Musical Arts at Southwestern Baptist Theological Seminary.

He reported: “I have never seen a young man so under conviction.” we were told. the evangelical religious establishment took rock so seriously in those early years that special ministries arose to counter its spreading popularity and influence. As a matter of fact. and crusades abounded as preachers everywhere railed against the new form. Dire warnings pronounced the consequences of rock. however. left in the middle of one of his crusade meetings to go after a rock drummer. Rock. and relativism. The emphasis tended toward examining texts and dissecting record covers (graphics). Early Rock Criticism. I remember how David Wilkerson. Respected musicians of the “classical” type stayed away from it. These popular ideologies. he came without the young man. Seminars. In those early years. When Wilkerson returned. it was commonplace for preachers and societal critics alike to lambaste the form. the Peters Brothers. which stem from the naturalistic movement of the seventeenth century. the reformers’ message had a fatal flaw that would prove to be its undoing. who was playing a gig in a local bar during service time. have fostered a climate conducive to the acceptance of rock music. One of the first anti-rock pamphlets published was David Wilkerson’s own The Devil’s Heartbeat: Rock and Roll!1 Here he listed 16 sins that he attributed to rock music. noted Teen Challenge founder.” Wilkerson (and many like him) considered rock to be a serious threat to spiritual health. in turn. hedonism. and Craig and Mary Harrington were energetically teaching and preaching caution regarding this new musical form. has promoted the disintegration of JudeoChristian values. Unfortunately. the son of one of the local church members. As a college student. Other evangelists like Bob Larson. The congregation shared Wilkerson’s concern and stayed in an attitude of prayer and meditation while Wilkerson dealt with the youth. it was fashionable for pastors and evangelists to spend time and energy on the evils of rock ‘n’ roll. special meetings. They criticized the
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. Criticism Flawed. amoralism. “Rock music will rot the minds of our youth. Part 1 HOW POP MUSIC ENTERED THE CHURCH In the 1950s and 1960s when rock was just emerging. a converted rock musician. these prophets turned out to be right in more complex and interwoven ways than they imagined. and music education programs ignored it. Lamentably.How Pop Music Entered the Church
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Consideration is given to materialism.

Wilkerson eventually recanted after realizing that he was actually using “soft rock” in his own meetings. with the pop music genre of the first part of the 20th century. one merely had to analyze text. the music was essentially ignored. witchcraft. the subliminal messages. Inconsistent Criticism.” All that he had previously
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. to ascertain its suitability. A whole new pop genre arose from an obvious need to reject anti-faith textual content while retaining the musical form—a kind of have your-cakeand-eat-it-too approach to the dilemma. an upbringing. Often they would end their commiserations with examples of “good” rock with Christian words. In other words. “Christian” and non-Christian alike. Otherwise it was similar to or at least heavily influenced by the very rock music they were opposing. confused Christian leaders waffled on their anti-rock stances. or performance practice. couple dancing. In addition. From initially reviling rock. Many well-meaning critics fell into this trap. How could this be? The answer lies in understanding of the nature of music. they criticized everything except the music itself! Besides mentioning the “beat” and slight concern for instrumentation. the illicit and pornographic sex natural to the rock scene. a failure to come to grips with the appeal of rock for Christian young people. lack of knowledge of musical grammar. religious-rock critics somehow intuitively knew that if they denigrated the music itself. backward masking. Among his new guidelines was a fourth one which stated. and cults. began its inexorable takeover of Christian worship as the power of the young people of the 60s. most of their own music would have to go. “It is 2 unscriptural to criticize another’s taste in music. The music itself then could be in any style as long as words were appropriate. In addition. Because music was believed to be of little consequence and quite unable to bring forth the content of intent.How Pop Music Entered the Church
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life style of rock musicians. the drugs. I remember vividly how struck I was with the dichotomy between the antirock sentiment and the pro-rock singing in a service held by a well-known evangelist. and lewd and suggestive performance practice. Soon the wholesale flood of rock. and 80s began to flourish. musicians’ life-styles. Christians refrained from criticizing the music of rock for several reasons: their unfamiliarity with aesthetic principles. the emphasis on Satanism. indifference toward or downright dislike of “classical” music. an unwillingness to pay the price for a thoroughgoing biblically based musical aesthetic. and/or the inability to apply scriptural principles to music. for example. hence a familiarity. 70s.

Not surprisingly.’ I say they had better obey God’s Word and judge righteous judgment. “If you can’t lick ‘em. Parents are now so easy and nonchalant about the music their kids listen to. . But when a respected evangelist can’t make up his own mind. As the years pass. individuals were free to do as they pleased. and they even gave up 3 perverted lifestyles. One of the reasons God’s Spirit was lifted from the Jesus Movement of the last decade was their refusal to forsake their old music. each generation has its own style of music. he now countermanded. Of course.’ What incredible spiritual blindness! If the music of devils gets kids up front to make a decision. but it seems the kids like it. If we are to have a real Christian witness to millions of gay and lesbian people we have to use our
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. promiscuous sex. the relativists claim victory. In an atmosphere of blaring Christian rock. Amazingly. ‘Well.” Wilkerson’s inconsistency plays right into the hands of rock enthusiasts. The attitude of the wider culture toward the acceptance and the promulgation of rock as the musical norm of our time has convinced all but the most ardent critic that rock’s musical styles are here to stay. . credibility and trust are lost. And they do sing about Jesus. But they refused to give up their beloved rock. Waning Resolve. join ‘em” became a common position. How very dangerous. Falwell at the Liberty University chapel hour recently explained his new view with language which Time reported as sounding “a bit strange. Rock was acceptable because music was beyond criticism. If a religious leader’s teaching moves back and forth and back again.How Pop Music Entered the Church
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taught and preached. before they lose their children to the seductions of this age. alcohol. heroin. Differences among people are one thing. The pressure to legitimatize homosexuality as just an alternate lifestyle appears to have changed Falwell’s approach. so it must be all right. three years later Wilkerson reversed himself again: “I cringe when I hear parents and ministers say. . ‘Don’t judge. perhaps all of it is only a matter of opinion. Musically autonomous in their own right. ‘You need to learn that.’ he says. this trend toward easing into the mainstream is not limited to music. ‘We can have friendship with homosexuals. Disrepute is brought upon the whole field of biblical/musical judgments. We don’t like it. Even more common are Christians who initially resisted the incursions of rock into the church but gradually relinquished their misgivings. For example. it is acceptable. the weariness of doing battle takes its toll. They say. Jerry Falwell’s no-holds-barred posture concerning homosexuality has been toned down. They gave up pot.

such a phenomenon is relatively recent for denominations like Presbyterian. Pentecostal. adopted a pragmatic approach from the outset. an ecumenical homosexual group directed by the Rev. They used anything from culture which brought about the desired result.” they wonder. The best example of the weakening resolve of religious leaders toward rock and rock-influenced music is also the least noticeable because broadly accepted change comes slowly. Evangelicals’ easy familiarity with popular forms made rock’s eventual acceptance almost a foregone conclusion. But his new rhetoric is an indication of the tremendous power that culture wields. using the politically correct term “gay” rather than the harsher language used previously. secular. The 20th-century evangelical church has always used popular musical forms.
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. Older people. Spread over decades. Church music changes are no different. a homosexual 4 activist. and Episcopalian. movement takes place in an evolutionary fashion. Because young people have grown up with rock. such as Baptist. There is another compelling reason for the eventual acceptance of rock by evangelicals. YMCA songs. it is normal. The gospel song is a prime example. Consequently. Evangelical Tendency Toward Musical Accommodation. eventually get used to the din. He apologized for his former attitude to “200 gay people of faith” in a meeting with Soulforce. Taking its cue from Stephen Foster songs. “What was all the fuss about years ago. and Christian and Missionary Alliance. Mel White. To question such a normal part of daily aesthetic life is astounding. and the whole issue simply fades away. Their aesthetic sensitivity becomes hardened. musical forms popular with the culture of the times.How Pop Music Entered the Church
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language carefully. But the more aggressive evangelistic denominations. Falwell has not changed his basic belief. bombarded as they are by blatant sounds from every quarter. The vast majority of youthful churchgoers know little of the tumultuous transformation caused by the rock revolution. campfire melodies. This music was commensurate with the developing popular music industry. it eventually incorporated many popular musical idioms and traits from Tin Pan Alley and Hollywood. Methodist. The wonder is that it took so long. While many churches currently are engaged in incorporating the most recent popular religious music into their services of worship. Lutheran.’” And so he does. and the like. Undoubtedly. evangelistic denominations pattern their music after the fashionable.

This form neatly bridged the gap between light musical fare and heavy textual themes. The deja vu genie let out of the bottle—the genie of commercial pop religious music propagated by modern entertainment performance and media—has become a dragon which would challenge St. videos. TV. and with the sound of 6 their own music?” The question that had driven religious. recordings. . George. money. experiential (emphasizing the first person). Christian music for 50 years was again being invoked. popular.How Pop Music Entered the Church
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Thousands upon thousands of these religious songs were written. and (3) because such copying can only continue to encourage the fracturing of the 5 church along generational lines. it took virtually no time at all for someone to ask the inevitable question: “Why not talk to young people about Jesus in their own language. “I have tended to feel that my friend Calvin Johansson’s sharp indictment of the gospel song was overdrawn. If the gospel song had been recognized early on for what it is and had been dealt with accordingly. . people enjoyed singing them. the music which had caught the fancy of the younger set was poised to make the jump from rock concert. In spite of all the time. and effort spent to counter it. and club to the chancel. as the religious counterpart of the secular popular forms of the day. no preaching or zealot-led. bar. publishing) for all the reasons Johansson has given—especially these three: (1) because of the exceedingly primitive nature of much modern popular music. Donald Hustad has noted. But. catchy air. With their toe-tapping. Tuned in to pop cultural developments. in this instance. strictly speaking. and especially with the religious copycat businesses (radio. and generally limited to salvation themes. rock music swept away all the objections. Inconsistent evangelical criticism. a long-term continuMain Menu
. In hundreds of churches across the land. . Calvin’s indictment was prophetic. album-fed bonfires could effectively keep this perceived evil at bay. Regardless of what was said or done. concerts. (2) because copying the ever-changing styles of contemporary pop (from country to rock to rap to karioke to reggae) both suggests and insures that the church’s only identity is that of novelty-seeker. which has become so strong a cultural icon that it cannot serve another master (God). Denominations which adopted the popular pragmatic philosophy of the gospel-song movement were poised to accept the church music spin-offs of the rock-music revolution almost by osmosis.” Rock Influences Church Pop. Texts were direct. Is it possible that the church must now finally break its tie to secular pop music. the evangelical church might now be a bit wiser concerning the present pop foray.

the pilgrim mentality necessary to maintaining such a posture is out of fashion. at least to its full extent. families. were not even an issue. Life is culture. The church was ill prepared to deal with this incursion of popular music for two reasons. Tradition becomes an enemy (except when nostalgia is a factor). First. No one escapes culture for everyone is a part of it. though liberal denominations had no particular problem with accepting pop in everyday secular life. the aggregate state in which life is lived. particularly rock. Anthropologists define culture as the sum total of everything there is to know about a people: their beliefs. religion. More than 1500 years of musical tradition were set aside as guitars magically appeared to accompany the Catholic pop version of evangelical Jesus music. Thinking of the church as the Body of Christ which ministers in and to the world without being corrupted or unduly influenced by it is a concept alien to those who have “accommodation” as their modus operandi—a tempting position in a world which is changing at almost an exponential pace and in a world which has come to treat change as not only a fact of life but a way of life. Instead
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. many churches do not have a clear understanding of what it means to be “in the world but not of it. Interestingly. liberal churches eventually began to adopt the musical forms used by evangelicals. music. The Power of Culture. forks. their food. bathing suits. the pragmatism of survival and of placating taste suggested taking another look. hairpieces. and language. Culture is the environment into which a child is born and reared. With a cue from the larger church-growth movement. morality. education. they made every effort to maintain historic musical standards in worship. tatoos.” musically speaking. and symbols. The second reason that the church was unprepared to deal with the rock revolution was its misunderstanding of the power of culture. Moreover.How Pop Music Entered the Church
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ing erosion of resolve. war. pop forms. For Roman Catholics. The overwhelming power that culture exercises upon an individual or social structure is not generally understood. understanding. For the most part. practices. burial customs. Life is not only lived in a culture. the watershed event which allowed for the admittance of popular music into the liturgy was the second Vatican Council (1962-1965). and an evangelical pragmatic philosophy all contributed to the acceptance of rock as a basis for a new pop church music. work. But when membership roles dwindled significantly and younger worshipers who had grown up with rock became more influential.

For the whole world system. and sloth still operate. human endeavor? Is it Satan’s playground? Or does God control human activity? Regardless of how the answers are nuanced. Christians believe that they continue to have an obligation to uphold the Ten Commandments. yet we are bound by laws. for example. and sensitivity. Having chosen evil. No matter how much we fantasize about being free. “Never give your hearts to this world or to any of the things in it. Sin. Scripture is replete with admonitions to beware of the world system. who have purposively isolated themselves from the wider culture. the regenerate retain vestiges of the Adamic. customs. special insight. Some of these decisions are obvious. even then. and mores. and stores all attest to the difficulty of escaping their environment. We imagine ourselves to be free and independent. the influence of culture is so strong that Christians are not immune to culture’s ability to subtly redefine the moral center of the average believer. Income taxes. based as it is on men’s primitive desires. selfishness. scripture provides ample evidence that though God is in ultimate control. however. St. buggies running on the latest rubber formulations over a road made by modern earth-moving equipment. Yet. Even here. A man cannot love the Father and love the world at the same time. It requires Herculean effort. that dream is mostly illusory. Yet that is exactly what Christians are called to do. Perfection is still far off. cannot escape it entirely. public schools. it is culture which possesses them. It is not a distortion to say that we are prisoners of culture. though the wider culture has largely rejected them. Who Controls Culture? The operative question is “Who controls culture?” Is it a purely neutral. Even the Amish. Culture’s overwhelming power is hard to discern because it is formidably difficult to analyze culture from within. There is no way to escape it. tools forged in modern factories. our now fallen race is clearly prejudiced toward that evil and remains under Satan’s influence. He allowed humans to choose good or evil in the Garden. Such a task will be successful only to the extent that one relies on divine revelation. Healing the breech caused by the fall occurs as men and women accept God’s offer of salvation.How Pop Music Entered the Church
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of people possessing culture. Paul’s dilemma of doing what he knows he should not and not doing what he knows he should is every Christian’s cross. their greedy
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. Certain areas of life exist in which decisions can be made which go contrary to the prevailing cultural grain.

a non-moral.How Pop Music Entered the Church
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ambitions and the glamor of all they think splendid. It is one thing to have an individual president behave immorally and unethically. The question is: “What is the real. according to the will 8 of God and our Father.” It is an apt label. “Today’s culture comes very 10 close to becoming a non-moral. Culture needs to be viewed with great wariness.” “Who gave himself for our sins. part of culture. is not derived from the 7 Father at all. it is absolutely imperative that it continually monitors the wider culture’s movements in order to crosscheck them with its own divine standards and assumptions. It is quite another to note the acceptance of such behavior by the population. of course. What Values Drive Our Culture? The church does speak out on issues which are clearly.” And rock music is one of the prime instigators.” should be amended to read. “Today’s culture is. working worldview of our culture?” “What are the assumptions which make us the people we
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. Driving the re-valuing revolution is the operative underlying worldview of society. but from the world itself. as seen by an analysis of the norms of our society. unchristian. in most quarters.” The intervening years have brought us to the point where traditional values can no longer be assumed. the places that need the most careful watching are the more subtle attitudes and innuendos of culture which signal drifts from a Judeo/Christian center. murder and gross immorality are still believed to be wrong. The Church is.” but that was the motivation behind His giving His Son to redeem the fallen world.” We could go on and on. The glue that holds our culture together has broken down. At every juncture. But it is also supposed to be supra-cultural—above culture—speaking to the world from a supernatural vantage point. If it is both of culture and above culture. Normlessness has become our new “norm. even blatantly. down-to-earth. Will Herberg’s 1968 statement. Our nation has drifted so far from Judeo/Christian ideals that our Post-Modern culture has been referred to as “Post-Christian. The Word does say that “God so loved the world. that he might deliver us from this present evil world.” “Ye adulterers and adulteresses. normless culture. know ye not that the friendship of the world is enmity with God? whosoever therefore will be a friend of the 9 world is the enemy of God. A Normless Culture? Culture is driven more by the unregenerate than the regenerate. However. Christian values have been softened and/or obliterated. normless culture.

Some cultures eat with spoons. The important issues change the basics of life. Part 2 SOCIETAL WORLDVIEW CHARACTERISTICS All things considered. and others eat with forks and use knives as pushers. “How do these assumptions compare with those of a biblically based worldview?” The conglomerate philosophic center of a nation defines its culture more than anything else. Arising in the 18th century. but these are only peripherally significant. In the 17th century. an entity removed from the world. He became of little importance in daily life. Naturalism. principle and example. clearly articulated. God (the clockmaker) created the world. These originate with God and are given to us in law and grace. or agreed upon set of assumptions. Spawning many
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. The only eternal entity is matter. it was not a stretch to postulate that God was not only absent. Thus. Nietzsche’s proposal that God was dead did not seem farfetched. naturalism. it has finally come of age. and then left it alone to run on its own. God-ordained objective principles govern life. Although theoretically He still existed. Value systems which reflect the collective thought of a people must be noted and responded to by the Church. These characteristics must be apprehended. Even though the worldview of a nation is not a unified. the first chinks appeared. Humans must make the best of their chance existence because there is no overall purpose or design to life. uninvolved God led people to conclude that the human race is coldly alone. There is no God.How Pop Music Entered the Church
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are?” “How do they work themselves out in the daily life of our nation?” And finally. wound it up. Known as deism. Humans are mere products of Mother Nature and have the right to live as their individual subjective tastes desire. Naturalism is now the dominant worldview philosophy which drives Western culture (as well as societies under the West’s strong influence). In biblically based theism. Further. the absent clockmaker worldview. Thinkers reduced God’s status to that of absentee landlord. the average acted-upon understandings of most people are enough to ascertain the worldview assumptions which drive a particular culture. but perhaps never existed. The concept of an absent. the operative worldview molding our national life is naturalism.

Who would argue that music affects character when there is no such thing as character in the first place? Amorality has had the effect of dismissing centuries of ethical/musical concerns.How Pop Music Entered the Church
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permutations. one is free to invent morals. Marxism. they are deadly. Societal characteristics are part of a larger overall scheme. poets. is superior to the other. including some major world-changing ones (such as secular humanism. It poses the backdrop against which the humanities continue to struggle for human value. . with obtaining and storing. nihilism.
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. Naturalism has had a devastating effect on people’s understanding of the power of music to influence character. someone else may believe in no moral standards at all. The ancient Greek doctrine of ethos and the early church’s circumspect attitude toward music has become unacceptable to modern society. Morals are essentially a private matter. The basic core beliefs of people stem from certain central assumptions. it is believed. Materialism. as writers. On the other hand. that is fine for that individual. Naturalism is morally neutral. Some may appear to be harmless. existentialism. If one wishes to adopt a certain standard. It provides the framework for most scientific study. painters and artists in general shudder under its implications. Our preoccupation with buying and selling. Goods are a way of life. Naturalism is not merely against the concept of theistic morality—it holds that there is no absolute moral standard in the first place. non-existent. . Stripped of any foundational absolutist assumptions. naturalism seems to be here to stay. is a glorification of a central naturalistic assumption that “what you see is what you get. and new age thought). Naturalism’s contention that only matter is eternal puts a priority on things. Such an emphasis is not found in theism.” The cosmos is reality. Since morality is a human invention. naturalism’s tenets of no moral right and wrong affect all disciplines. Life’s significance is bound together with that which is sensual. 11 .” The philosophic assumptions of naturalism affect society significantly. life after death. “It dominates the universities. no rival worldview has yet been able to topple it. The general characteristics which describe our national life are the result of naturalism. It is not surprising that naturalism embraces an ambiguous view of morality. Amoralism. but as a part of naturalism. colleges and high schools. Celebrating the eternal stuff of existence in material things plays into this theme of the priority of possessions. Neither position.

Having no place to go for absolute standards and values. impersonal cosmic molecules. Naturalism has no frame of reference except the natural evolutionary world driven by chance processes of evolution. relativism has been a major player in the daily lives of millions of people. most pleasing manner. The individual. Humans are prisoners of a mistress we do not know except for some vague notion of a connection to eternal. more than any other. Enjoyment and fun are laudable pursuits. Since the 1950s. Living for the moment in an escape mode seems to be a logical way to forget the capriciousness of the past and the grimness of the future. subjective invention became its only option. Life has no outside-imposed purpose or meaning from some higher order of being. Naturalism. no heavenly city to aspire to at death. Naturalism takes a dim view of absolutes. Music must not be regarded as an entity 12 without a moral component. Such anecdotal evidence is unscientific. The individual positions his center of existence in the only thing that makes any sense. Of the many forms that escape takes. Its love affair with the subjective is a matter of necessity rather than choice. Hollywood productions.How Pop Music Entered the Church
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Never mind that most of the children and young people who have committed heinous crimes in the last two decades have invariably been attracted to rock music. in the past 50 years. the self is all he has. a philosophy which avoids authority and opts for taste. Given the mechanistic orientation and emptiness of the naturalistic order. has promoted one of the most visible characteristics of the age in which we live—relativism. Relativism. Entertainment has become a national pastime with millions of dollars and millions of hours spent on sports. It is a worldview turned in on itself. but that does not make it unreliable or unimportant. and the popular music “industry.” The desire to please ourselves while we have the chance is entirely consistent with the naturalistic assumption that there is no larger life. Making life more bearable by escaping the determined world of impersonal natural selection is one way to fill the emptiness of existence. has trumpeted the superiority of a sweeping relativistic subjectivity. And why not? No absolute levels of pursuit exist in naturalism. Hedonism holds that pleasure is the highest good.
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. authenticates his existence by ordering his own world around self and doing it in the least taxing. though he is in some way determined. Selfism and Hedonism. This worldview. yet that is exactly what naturalism infers. a prime way is to seek out pleasure.

naturalism’s foundation is its biggest dilemma. Traditional notions of morality. of those 13 adhere to who traditional norms and morality. Rock’s Influence on Culture. The music served as a catalyst to launch the most sweeping popular revolution of value systems the Western world had ever seen since the time of Christ. which today is the dominant culture.
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. is the operative way musical selection is made. It had an agenda. pure and simple. These are not. In naturalism. as Disraeli had it. However. One embodies the counterculture of the 1960s. Robert Bork notes this flip-flopping of societal values: “We are now two nations. Rock was used to further the secular humanism of a godless and naturalistic worldview. selfism. Instead. and societal values based on Judeo/Christian theism were turned upside down.How Pop Music Entered the Church
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In a way. Undoubtedly. and that agenda. the rich and the poor. A surgeon is better qualified to operate on a toe than a plumber is. The other nation. the young brought their value system along with them when they matured into adulthoood. and relativism supported the musical sounds of rock and its textual philosophy. The relationship between rock and worldview assumptions is complex. Yet in the area of aesthetics. Carried to its logical conclusion. Although ultimate authority is dismissed. . So it is with naturalism. whites and blacks. naturalistic presuppositions fostered a climate in which rock music flourished. amoralism. or. inculcated in its texts and more importantly in its music. as presidential commissions regularly proclaim. But life as we know it could not be lived nihilistically. a negation of everything. naturalism’s penchant for the subjective is clearly inviable.” Singers and musicians became the heroes and idols of the target audience. ethics. . the young. naturalism ends in nihilism. Taste. is now a dissident culture. hedonism. Negating things like traffic lights or poison mushrooms does not prevent one from paying the price should they be ignored. . a certain chameleon-like transformation allows for objective changes in application. Its insistence that there is no God (and all that implies) is central to its proclamations. Materialism. Rock was as much a cause as an effect. served to mold culture in its own worldview image. we are two cultural nations. We should do better to let a trained pilot fly a 747 rather than a non-pilot. aesthetics. it is too facile to conclude that rock was simply a result of naturalism and subsequent more extreme worldviews. Absorbing countercultural values through the music they listened to. Rock musicians had immense power. areas exist in which we need to trust experts.

and ensembles are thoroughgoing rockers. Looking at pop forms as a whole cuts across demarcation lines of sub-categories and looks at the broad spectrum of the religious pop music field. Because it was heard everywhere young people went. A closer look at this large body of music indicates that although it is not strictly rock. As time went on and rock became more and more extreme in its text and music. more “fun” music on the part of evangelicals has accompanied a simultaneous reduction of piety and discipline?
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. and heavy metal congregational fare. rather than the more narrow genre of rock. The real danger is more subtle. everyone. as a class. and teachers concerning rock. We need to consider pop music as a genre. which has been influenced by rock music. including adults. although some churches have done so. While very few churches would tolerate the incursion of hip-hop into worship. But for the most part. pastors. But history has shown that wholesale accommodation to culture changes the gospel. Most of this music cannot be categorized as out-and-out rock. The real danger of rock is not that it will take over the music of worship completely—religious hip-hop. dozens of CCM soloists. Popular religious music is flooding the church as never before. the influence of rock on congregational music should be the greatest concern. they could hardly avoid it. for example. and as a style. Rock and Religious Pop. Eventually. Such criticism is distinctly out of fashion. most are coming to welcome music with a decidedly pop air. was swept along by the tide. Yet the musical formulations are quite out of character for music that is supposed to be a reflection of the gospel. it was taken for granted—a fact of life. therefore. That did not keep them from assimilating it.How Pop Music Entered the Church
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Most evangelical church youth of the 60s were amenable to the suspicion of parents. punk. It is. more useful to consider the broader category of popular music (which includes rock) in Chapter 10. Of course. the Church’s biggest dilemma is in the wider field of worship music. The great danger is the insidious influence of rock music on the music of Christian worship and on the daily listening habits of those who patronize the Christian music field. it does have many of the characteristics of popular music. The church is not in any imminent danger of its vocal music taking on acid rock characteristics. bands. Who would dispute the claim that lighter. that question supposedly having been settled in pop’s favor thirty years ago. Presently. however.

When the music histories of the 20th century are written. The values of a people show up in what they sing and play. a stranglehold on the molding of musical taste. Other factors have contributedto it: a feel-good approach to faith. the breakdown of the family unit.How Pop Music Entered the Church
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Granted. College and university curricula reflected lagging interest. It may eventually be found only as a museum artifact should our present value system continue. a culture of trivialization. with the help of commercial marketing strategists. an erosion of belief in the sovereignty of God. and so on. such a state ought not be laid at the feet of music alone.
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. and the like were forced into programming more and more pop concerts in order to attract the audience necessary to stay afloat. the most prominent musical feature to emerge will be a large scale shift from art music to popular music. an easing of moral constraints. The dramatic change can be chronicled by noting the waning interest in classical music as the century wore on. Doing so gave them. as did the disappearance of the neighborhood piano teacher. Pop soloists and groups after World War II served to revolutionize western life in every way. distrust of authority. for example). but its future is at best uncertain. while the last half of the century experienced vocal sounds that became increasingly ugly. music has had a disproportionate influence on the life of the church. All in all. Choral societies as well as church choirs which sang a high standard of repertoire dwindled in number. the century showed that music cannot be divorced from the developing traits of a society. arts councils. Even the most prestigious symphony orchestras resorted to adding pop attractions or a separate pop concert series in order to keep the orchestra financially viable. But on balance. Popular singers of the first half of the century kept some modicum of vocal beauty in their singing (Bing Crosby and Dennis Day. Community-concert associations. Machines made mass marketing of recordings a multimillion-dollar enterprise. We Live in a Pop Culture. This is not to say that classical music is dead.

His parish ministry as music director and organist spans a period of over forty-five years.Chapter 10 POP MUSIC AND THE GOSPEL by Calvin M. such actions likewise represent the Almighty. Johansson
Calvin M. ***** One cannot get around it. It speaks not only for itself. What the church does represents what the church is. he has authored numerous articles and two books: Music and Ministry: A Biblical Counterpoint. the only question that remains concerns the content of the witness. Missouri. A well-known lecturer. The gospel will be promoted and -255Main Menu
. consistent with the faith in every way. such actions are still perceived as representing God. When it acts in ways that are contrary to its very covenant. Johansson is Professor of Music at Evangel University in Springfield. Whatever we do in word or deed. A congregation that lies to the city council is showing off its Christianity (or lack of it). A Christian-education program which is all but nonexistent is dysfunctional in working out the Great Commission!
So all-encompassing is biblical theism that everything the church embraces becomes an analogue of its faith. Since we cannot avoid witnessing. the witness will be positive. A church board that deceives the pastor is giving a witness of its faith. Both of these books are widely used for university and seminary courses on church music and worship. becomes a working symbol of life in Christ. That is why the actions of the church are so important. and Discipling Music Ministry: Twenty-First Century Directions. When its actions are consistent with its faith. If the symbol is virtuous. but for its Lord. He earned his Master of Sacred Music at Union Theological Seminary and his doctorate in Musical Arts at Southwestern Baptist Theological Seminary. good or bad.

It should also be noted that within each category of popular music. a genre which includes many styles. Church music. To do so may be perilous. The analysis of these areas show that pop music is inimical to the gospel and can ultimately pervert its meaning and relevance for today. refers to that which is made for the express purpose of becoming popular at the expense of those compositional traits which yield a music of artistic greatness.” as I am using the term.
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. when it shows (via its own language medium) characteristics which are opposite to the traits of the gospel. This is a misunderstanding of the comprehensive nature of the reach of church music. “Pop. Objectives of This Chapter. The very least that church music should do is to further the gospel. The traits mentioned here are endemic to all of them. Whether it’s heretical preaching. Trying to split the message of church music from its medium simply is not possible. a means to worship. however. or even an emotional stimulant which punctuates preaching. or inappropriate music. when the witness or symbol is inconsistent with God’s Word. This chapter attempts to help the reader understand the fundamental differences between the values and goals of pop music and those of the Gospel. even though that mistake is often made. rhythm. sentimentalized calendar art. texture—something much larger than itself. Church music has a powerful propensity for communicating via its own language medium—notes. If it did. They need to be rejected. must of necessity be quite general. They consider the music merely as accoutrement to the text. we should not take it for granted. a kind of background halo hanging over the congregation. Church Music as a Symbol. harmony. a music of great integrity and depth. is something quite different. then the symbol brings disrepute on the full gospel. there are levels of worth. from rap to Broadway to CCM. the broad category of popular music in no case has the standard of excellence found in art music. An analysis of the characteristics of popular music. Obviously. Such representations do much harm to the cause of Christ. it would by definition no longer be popular music. However. Although this influence of the music may be totally subconscious.Pop Music and the Gospel
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glory will be given to God. Too many believe that the gospel furthered by music is found in the text itself apart from the music. the quality of witness is determined by its integrity to gospel principles in its own medium. Music is often thought of as a text lubricator. Music is not all of the same quality. Eight specific areas are compared and contrasted.

Without theoretical depth. the gospel. Its purpose. Myopic and narcissistic. Christians are called to a life that is painful at times and yet is sometimes full of unspeakable joy. The Christlife was never intended to be frivolous or supercilious. a result which eventually may turn out to be anything but “fun. describes the use to which church music is put. died. pop is oriented around musical pleasure based on individualistic whim and caprice rather than on objective musical value and worth. No matter how vehemently people deny it. Sweet. breezy. It is a symbol of Christianity. or Christian. pop entertains. or belligerent. in short. mad. church music is a symbol. melody.” used adjectivally.
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. secular. Pop’s musical composition insures that this is so. life-changing redemption has little in common with amusement. easygoing. Jesus’ sacrifice was not an idle pastime. It is a symbol. pop utilizes a construction which is empty of serious musical thought. saccharine. wild. It is onesided. Worship which focuses on providing the worshiper a rollicking good time is sacrilege. Christian theism. pop music has at least one thing in common—it entertains. the worship of the Saviour. This fun music with its constant bombardment of musical silliness tends to reform the listener in its own image. Since “church” is a description of the whole Christian enterprise. not because of style or quality.Pop Music and the Gospel
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Acknowledged or unacknowledged. its raison d’être. In accommodating the gospel to society’s love of entertainment.
(1) Entertainment Versus Edification The first and most obvious trait of all pop music is that it is entertaining. sour. That is. the One who suffered. and timbre are shaped to be fun and viscerally stimulating. Gut-wrenching. or. ought not reflect popular culture’s contemporary predilection for trivialization. That is why it exists. if not witless. costing the listener little in the way of intellectual investment. is to amuse. Further. pop washes over the listener with gay abandon. Entertainment occurs when music is crafted devoid of musical reason. the word “church. and rose again to give us new life.” Again. Pop musicians know this and readily design their renditions to be frivolous. Nevertheless. a fact generally missed by those who use religious pop music in worship. Harmony. but because of its use. rhythm. The Gospel Is Not Entertainment. Nor is the life He calls us to either frolicsome or filled with tomfoolery. informal. “church” (or “Christian”) music is music which likewise describes Christianity. entertainment is at its very heart.

and immaturing of the believer. the listener is built up and edified. in reality it is directed toward people. great music edifies the listener.
(2) Novelty Versus Creativity Popular Music Is Novel. What we utilize in worship is that which pleases us. style. It should be obvious that to use popular music of any type in worship simply turns worship into entertainment. The composer invests in the work musical traits which call the listener to reflect seriously on levels of musical content that go beyond the temporal. but certainly they have little to do with
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. stripe. Novelty depends upon hype and gimmicks. trivialization of the faith. worship which is based on its entertainment quotient is idolatrous. These experiences leave them with a sense of wonderment. It relies on facile decoration (often obnoxiously obvious!) to provide the illusion of true creativity. Continual dropping and adding of titles indicate how the genre needs the momentum of change to stay alive. The worshiper is worshiping self. Biting the head off a dove or amplifying the throbbing thump of an ear-splitting trap set may be novel. On the other hand. Those who give their whole beings to a piece of fine music are translated to realms beyond description. Far beyond entertainment. Integrity defaults to expendability. the created. musical depth in great music sympathetically resonates within the heart and mind of the listener in the manner of a gestalt. fine music brings one face to face with a world which reflects God’s glory. the end result will be the same: convoluted worship. or subspecies of music it is.Pop Music and the Gospel
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worship is turned around 180 degrees. swing. Whether rock. It requires constant changing because it doesn’t wear well. Pop music cannot tolerate the degree of creativity that art music demands because then it would cease to be pop. CCM. Some of the more extreme innovations are not only novel. In fact. In the manner of general revelation. We want things we like—things which feed our selfish drive for having a good time. no matter what category. With emotional and intellectual balance as a result of competent craft. They are enlightened and moved. Disposability supports a kind of fad approach to composition which pop music must have in order to survive. Naturalism’s hedonistic tendencies end up in the house of the Lord. Even though we believe such worship is directed toward God. or ragtime is used. they are bizarre. The Top 40 are a case in point. plentiful in the annals of pop history.

More than that. He tells us that we are made in His image. and. Popular music does not aspire to the highest degree of creative excellence. the “Maker of heaven and earth. silly. The creation was not only created. trifling. we see a level of creation which defines for us creative excellence.” And again “I believe in God. it was created with a high degree of excellence. Imagination comes from the innate talent and vision that an artist possesses. Further. Among the various ways that His image is shown in us. it was created good. mad. It lacks the musical craft and imagination of great music. haltingly to be sure. when Adam and Eve disobeyed in the garden. They were not easygoing. it was made excellently.” In fact. When reading the Bible from the beginning. it was created very good. Nor were they disposable or expendable. or stereotyped. It is the first thing we know about God and the first thing we know about humans. Even more to the point. It is too facile. When we come to verse 26 of Genesis 1. trite. the only things we have been told about Him is that He exists and that He is a creator. Pop Music Lacks Creative Excellence. KJV). which gives it a certain priority. hackneyed. When God looked back upon the world that He made in the initial creation. or wild. Then there is a recounting of the initial creation. God. The competence of compositional craft determines the work’s integrity. all of creation was brought under the curse of sin. Both imagination and craft are necessary. after our likeness” leads to the logical conclusion that we have been made creators in the likeness of a Creator. maker of heaven and earth. certainly the one which stands out among all the others is the fact that we have been made in the image of a creator. behold. too obvious. the creativity of Almighty God. the almighty. To be sure. They were not casual. It is a fallacy to think of creativity (in the sense we are using the term) as simply “newness. “Let us make man in our image. the narrative begins with the fact of God’s existence. creativity only exists as it mirrors. Creativity is no small thing.Pop Music and the Gospel
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creativity. Creative Excellence. maker of heaven and earth. This is a statement of quality. The latter may be defined as making with imagination and integrity. While
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. it is imperative to note that whatever He made. it was very good” (Gen 1:31. the products of God’s creativity were not banal. the Father almighty.” When using God’s creativity as a model. or wacky. But even so.” saw fit to tell us of His creatorship at the outset of His revelation to us. The councils which framed the creeds (such as the Nicene and Apostles’ creeds) recognized the importance of God’s creatorship by affirming it at the outset of each formulation: “We believe in one God. the father. the Bible says that “God saw every thing that he had made.

but it does not have Godly creativity. God chooses to work through humans in the continuation of creation. It implies that the author of such a superficial faith is likewise a creative lightweight—hardly a fitting representation of God Almighty. Every aspect of the musical structure. Since one of God’s main attributes is His excellent creativity. This lowers the standards of the Church in order to meet the approval of the wider culture. we testify about Him best when our church music witness is deeply creative. Creatio continua. This makes pop an inadequate medium for theistic witness. texture. should include works of the highest creativity of which humans are capable. Hence.Pop Music and the Gospel
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some pop songs may be better than others. as agent of creation. Novel church music may be fun to listen to. rhythm. or form. literally holds the universe(s) together by the power of His word. none rise to the level of excellence found in serious music. He has given us a creation mandate to fulfill the potential He placed in the world at the beginning. the Church should realize that it too is part of God’s creative call. What is needed is firm resolve. The corporate worship of the Church is its collective witness. without a second thought. more than any other. in its representation of what it means to witness to God’s grace. A beginning would be to avoid pop church music which is reminiscent of our culture’s infatuation with the novel. whether melody. God’s continuing creation. Can one omit the musical means of Godly creativity and expect good witness through forms which are absolutely poverty stricken? Popular culture has so captured the minds and hearts of the Church that. Moreover. speaks eloquently of His power to sustain what He originally created. and that that sustainability is just as creative as the original creation. We should rely instead on that which has inculcated in it the Godly attribute of high creativity. but musically it suggests that the Christian faith is similarly slick. It may be novel. We know that Jesus.
(3) Immediate Gratification Versus Delayed Gratification The general aesthetic principle upon which pop is based is immediate gratification. Since pop has no musical depth (as in art music). humans are arms of God’s creatio continua. worship has become stripped of much musical creativity. defines the genre. the inevitable conclusion is that pop creativity and Godly creativity run counter to one another. This principle. harmony. Ought the Church be a warmed-over version of the society it is trying to save? That does not make sense. is
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. If humans are to be God’s creative agents. The Body of Christ on the earth.

it is his maturity. art music’s are significant. Immediate Gratification. Little aesthetic subtlety exists in pop. In addressing pop and art music. most direct manner. Such practice cuts across the broad cultural front and is strongly ingrained in the collective psyche. so pop mirrors culture by being a music of expeditious indulgence NOW.Pop Music and the Gospel
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built upon the notion of supplying musical gratification in the quickest. Nostalgia excepted.” The speed of tendency gratification is an indicator of musical value. The musical components of pop rarely outlive the listener’s interest in them. it is this principle of immediate gratification. it operates with such conventional cliches that gratification is almost immediate and uncertainty is 3 minimized. Nor can he tolerate uncertainty. not because he can’t think of other tones. It is not his mentality that is limited. Just as our culture is one of credit card immediacy NOW. For while ‘pop’ music whether of the tin-pan-alley or the Ethelbert Nevin variety makes use of a fairly large repertory of tones. Note. is the degree of value a piece has attained. If there ever was an aesthetic principle which perfectly matched a culture. Pop’s goal-inhibiting tendencies are negligible. To the degree that the final tonic. that popular music can be distinguished from real jazz on the same basis. by the way.” aesthetic value is slight. the prevailing attitude of our culture is to consummate desire with an immediacy which finds delay repugnant. The primitive seeks almost immediate gratification for his tendencies whether these be biological or musical. Leonard Meyer has shown that when musical goals are “reached in the 2 most immediate and direct way. It is clearly seen in the casual attitude toward fornication
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. new songs supplant the old in an endless parade because the aesthetic principle of immediate gratification demands constant turnover if the genre is to be perpetuated. Meyer suggests that the difference between “art music and primitive music lies in speed of tendency gratification. postponed until the subtly crafted digressions have been worked through. From “How to Play the Piano in Ten Easy Lessons” to instant mashed potatoes to contractual theology to sex outside of marriage. is creatively worked toward. This fact alone accounts for the rapidity with which it wears out. The music of pop is conspicuously easy to assimilate. the ultimate arrival of the concluding cadence. They are composed for easy assimilation which provides no significant challenge to the listener. for example. That which is fully comprehended is as interesting as yesterday’s newspaper. And it is because distant departures from the certainty and repose of the tonic note and lengthy delays in gratification are insufferable to him that the tonal repertory of the primitive is limited.

From the earliest encounter with Abraham to the ascension of our Lord. adventure. the lion and the lamb will lie down together. This is why pop is a musical analogy of our culture’s values. Hebrews 11 chronicles heroes of the faith who died in the hope of receiving that which was promised. We do not now receive everything coming to us. of new discovery. Consistent with God’s dealing with humanity. It is true that Christ is risen. If the Christian life is anything at all. we will receive an incorruptible body. A Gospel Principle. That is delayed gratification. Delayed Gratification. It is one of the key aesthetic principles employed in the creating of music of integrity and worth. when musical components exude obvious musical patterns that are trite. so to speak. Delayed gratification is a major gospel principle. Included in God’s dealing with us is a time line. some day. Christ has died. The New Testament reveals that Christians will someday sit down at the Messianic banquet. The mystery is gone. The same can be said for careful listening. The opposite corollary of immediate gratification is delayed gratification. But not now. My experience over a lifetime of rehearsing college and church choirs has been that music of delayed gratification wears well over weeks and months of rehearsal. how much more should we expect that it has done the same to society’s aesthetic appreciation. We wait until the fullness of time. some day. The process of listening is one of looking forward. no sorrow. Though we are fully sons and daughters of our Lord at conversion. Some day we will be completely vindicated. the New Testament continues the Old Testament pattern of progressive revelation. more is to come. Christians live in hope. Some day. the music plastic. the very thing that makes the music popular in the first place is the thing which kills it in rehearsal. it is a
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. there will be no pain. of finding in the music a similitude with the human condition. Life is a process. In spite of any technical difficulty. But music built on delayed gratification has built into it distance.Pop Music and the Gospel
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and adultery. The joy of anticipation is a propellant toward eventual gratification. do not have the power to engage the listener for long. If immediate gratification has bent morality to its own norms. but there is also the hope that Christ will come again. That is part of the historical record. But popular music of whatever ilk does not fare as well. and challenge. our Christian experience is a journey. the challenge dissipated. “that which is to come” always entices us. Pieces which can be assimilated without travail. Choristers tire of rehearsing its predictable tunes and harmonies.

rhythm. Aesthetic works based on immediate gratification are unable to aspire to greatness because they are out of step with Godly design. That takes time. too erudite. and an aesthetic principle. Full gratification is delayed. once more. then growth toward maturity. progress toward the eventual goal is impeded by difficulties and detours. and harmony is unable to display general revelatory gospel witness. Its medium of notes. It doesn’t happen all at once. The fact that much worship is being filled with forms of music built on the aesthetic principle of immediate rather than delayed gratification is grievous.
(4) Low Standards Versus High Standards Popular music’s standard is determined by the lowest common denominator of public taste. Nor is it the model for the Christian walk. Nonetheless. It is the way God made the natural world. no worship at all. Low Standards. The travail of making us into what God wants us to be a mark of our Christian human condition. The concept of delayed gratification is also a basic life principle. a gospel principle. Additionally. It is not how God designed life. The end of life is encapsulated in time. These incursions make life a difficult road to travel. Worship is an activity which ought to be consonant with scripture and with the Christian walk. why is the Christian church so enamored with pop music? Based as it must be on immediate gratification. pop is incapable of being the musical gospel. Such has all the ear marks of pop worship and has more in common with the world than with heaven. the rigors of life have a purpose because they give meaning and shape to existence. It is predisposed toward the lowering of musical appreciation because it does not call for the hearer to rise to a higher level of musical competence. rightly understood. Music for the populace means music which rises no higher than the inclination of the least astute listener. These considerations should cause us to reject the present headlong acceptance of immediate gratification as basic life strategy.Pop Music and the Gospel
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process of maturing—a process of becoming conformed to the image of the Son. Worship inconsistent with the gospel is. Twentieth-century pop music decreases the level of musical
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. Life comes from seed. immediate gratification fails. Put in this light. What is provided is on the basis that it will not be too cultured. Pop music simply has little in common with the gospel. Pop Music Is Not the Musical Gospel. As a life principle.

even at the subconscious level. Whether performers or audiences “understand” or “like” the piece is not relevant to the compositional process. Composers don’t write “down” to an audience. Not being accountable to the ceremonial law might seem to indicate a free-for-all. too.
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. These are easily seen. Under the law. It reflects the adamic nature of sloth and laziness and fosters a declining ability to compose. it is fixated on mediocrity. then Christians have a duty to promote them wherever they have the opportunity. If the work is at too high a level. perhaps. are the New Testament standards under grace. is behavior a concern any longer? Jesus Himself gives us direction in Matthew 5. grace fulfills the law. practicing the God-controlled life. for example. and sing well. no writing down. the audience is invited to rise to that level. People need high aspirations to excel. Rather. the norm simply degrades society. Further. Not so readily perceived. adultery and murder were forbidden but under His reign lust and anger are also prohibited. Scripture. In other words. The problem with pop is that. Conversely. The hearer does not determine the aesthetic level of the composer’s craft. High Standards. calls for high standards. Quality comes first. Because humans look at the outward appearance but God looks at the heart. all that Jesus had to say about personal purity. and the call to leave everything for the cause of Christ shows unequivocally that grace calls us to a higher standard than the law ever did. which exists within an assumed framework of the necessity of mass acceptability. It seems clear that a higher standard is set under grace. Unlike pop composition. music of artistry assumes the normalcy of high expectations. This being the case. Now a person’s heart is an additional battleground on which right must prevail. By accepting the basest cultural standards. Great music calls us to be our best musical selves. play. There is no dumping down. as a genre. in the Ten Commandments and in the Lord’s requiring Israel to remain separate from surrounding cultures. little support is shown for popular culture’s propensity for the lowest common denominator. Its assumption is that people have the ability to make friends with the highest and best forms of art. If the gospel call is to high standards. giving good for evil. discipline.Pop Music and the Gospel
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sophistication. art music expects the listener to rise to the standard set by art work. the composition is made to reflect the very highest aesthetic excellence.

is unable to be a musical analogue of the gospel.” Extreme subjectivity is an invitation to anarchy. Massachusetts. His Word rules. This is one reason why pop music. Such interference in the affairs of humans is both authoritarian and commensurate with biblical theism. As creatures. on the other hand. then by inference. Simply because a song is liked is no reason to use it. Biblical theism. God speaks in scripture. principles which are crosscultural and timeless. it really is license. In worship especially we should expect the high standards of scripture to be borne out in the works of our hands. Acknowledged or not. Such subjectivity is extremely dangerous. While He gives us choice. It isn’t. Doing that which is right in one’s own eyes may seem like artistic freedom. Music in church must be of a caliber that rises above the low musical standards of the world. it is choice with consequences. Its nature is so far removed from the locus of biblical revelation that it is actually an anti-gospel form. They do even more harm to the cause of Christ. It is artistic chaos. Objective Divine Revelation. is a musical genre consistent with naturalistic assumptions and is contrary to theism.
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. The objective nature of God’s dealing with humankind ought not be lost. Theistic objectivity is important because it is a means by which aesthetic worth can be established. People may be comfortable with it. The statement over the court house in Worcester. Despite the fact that God is mystery and that His Word may be interpreted incorrectly. but acceptance by a cultural milieu of populists and adamic principles placed by God in the natural world. Pop is based on subjective naturalistic ones.Pop Music and the Gospel
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High Standards in Church Music. if not by direct reference. is noteworthy: “Obedience to law is liberty. is essentially an objective worldview. we are obliged to discover the parameters of the Creator’s dealing with us—a discovery which is more informed by God’s determinations than ours. pop’s presuppositions do incalculable harm to musical art. Composers and performers are able to do whatever they desire without concern for the musical worth of what they are doing. No scripture is of private interpretation. While this may appear to be freedom. may be circumvented. based as it is on subjective taste. We will pay the penalty for choosing wrongly. God’s revelation to humankind is not a figment of subjective imagination but a matter of objective reality. secular or Christian. Erik Routley has asserted that on all matters of importance. Reordering of the world via supernatural directive is entirely consistent with the fact of God’s sovereignty. That is the situation in pop music from a compositional basis. Great music is based on objective theistic norms. Pop practice. It has a cost: poor music. God is the boss.

Relativism so infects the atmosphere in which we live that objective judgments are next to impossible to execute. If we countenance a crack in one area. or gangsta rap. Because popular music is taste driven. Successful writers of popular music are recognized not on the basis of the inherent. People in control of the musical contents of worship who are unable to see through popular culture and who do not know or do not recognize basic objective aesthetic rudiments choose music on the basis of preference. The objective nature of theism is then musically thwarted. let alone consider. the music work is influenced by consumers’ demand. of necessity. Fads in vogue today will. Market Driven. But consider them we must. consumer-driven enterprise. others to country or perhaps CCM. objective aesthetic worth of their songs but on how many recordings have been sold or tickets purchased. even bizarre. Allowing music ministry to run on the subjective musical taste of worshipers will broaden to other faith/life territory. hiphop. worship is based more on subjective taste than on objective value—a human-centered focus. Using objective musical judgments on the music of worship is important. The imaginative and technical characteristics of popular music as a whole are shaped by what a songwriter knows about the general expectations of the audience. composers are well aware of what it takes to “turn on” their audience. Worship centered on humans becomes worship of humans. Whatever the sub-style.
(5) Commercialism Versus Non-Commercialism Pop music is firmly ensconced in commercial enterprise. A theist’s relationship to the world is similar. Naturally sub-categories of listeners in the pop field are numerous. so it is easy to see why the fickle changeability of the public is so pronounced. some are attuned to acid rock. it is bound to spread to others. do not do so without considering its impact on the audience. Living in a subjectively driven world is difficult. Since acceptability determines sales. Worship promotes a music which is fundamentally out of sync with the biblical record. rather. mutate or be supplanted tomorrow. Yet the style has an innate cyclical nature which makes it a natural for commercial. Even musicians who attempt something that is far afield. it has a tremendous propensity toward individual subjectivity. In choosing subjectivity over objectivity. godly precepts and principles exist apart from human observation. Crowd-pleasing is a must in the popular field.
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. This is not to suggest that there is no human tint to what is observed and known.Pop Music and the Gospel
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Our relationship to God is fundamentally objective.

Air time. While pop is thoroughgoing commercial music. Obviously. The music they write and the bands who perform it are mass merchandized for maximum penetration and saturation in a market. no composer worth his salt would allow his musical integrity to be compromised by strictures to his compositional technique. great art has a life of its own. taste makers try to insure that a particular piece will be profitable. The difference between pop and art music that the composer writes. performer exposure. Although parameters are often given to the composer (such as length or performance forces). these giants sense further money-making potential in the field. imaginative and technical characteristics of the music are influenced by what the composer knows the public want—who. taking on a commission for a new work. Song writers are providers and their songs commodities. The language used to describe popular music shows its business orientation. independent of saleability. If there ever was a question about the profit motive in popular music. its success is not dependent on making money for huge corporations. The making of a genuine work of art is not tied to acceptability. The composer of art music maintains control over the compositional process. Moreover. Publicly traded. these businesses know that the bottom line is shareholder earnings. does not tie his compositional technique to the foibles of the commissioner. Considering the millions that are spent each year on popular music of all stripes. On the other hand. and widespread media coverage whip up enthusiasm for a new song or album.
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. Pop music is no different from any other manufactured device. Art is out. It belongs to an industry. Hence. is that the former is an entity which has been shaped by the necessity of being acceptable. it can now be laid to rest. but with standard entrepreneurial practice. composers have to earn a living just like everyone else. Its success is determined by its adherence to an objective aesthetic criteria—imagination and technique achieved with creative excellence. the classical composer. To insure this. Money is in. Musical production must be vendible. Its essence lies in aesthetic goodness.Pop Music and the Gospel
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Business has exploited the transient nature of pop. however. it might be added. If it doesn’t sell. are neither sensitive nor able musicians themselves. It is beholden to business for its very life. The costs are enormous. advertisements. Even the so-called Christian Contemporary 5 Music field is dominated by a few conglomerates. the potential for even greater returns is recognized. a song is finished. Recently the music arm of Time Warner and EMI announced a 20 BILLION dollar 4 merger. Pop music is a product.

Terminology (“sinners” are out.
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. pop goes for the jugular. The Body of Christ turns into a firm. Worship has taken on a commercial flavor. the manipulative. “unchurched” is in). Songs with a commercial aesthetic are being sung.Pop Music and the Gospel
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The Gospel Is Not a Business. Its compositional traits tend toward the facile. Treating music as a product allows it to control the art work from beginning to end. is replaced by hedonistic titillation. Not only does business serve as a model for the church. the effect. The whole church-growth movement borrows heavily from commerce. Now the drive to make money makes church services “markets. Tightly controlled licensing of these songs protect the rights of the copyright owners. What is missing is the arduous journey toward the arrival. and staff organization (the pastor is the CEO) all come from the business model. and some churches sing nothing but this type of music. either directly or through licensing companies such as Christian Copyright Licensing International (CCLI). Yet contemporary business practices are often used as models for church organization and development. Popular music provides emotionalistic satisfaction in the manner of a cheap thrill. industrial thinking. Material possessions are seen in scripture as a hindrance to achieving God’s best. The travail of birthing something valuable is anathema to pop. churches have to pay a royalty to use most CCM songs. A church based on this paradigm is bound to earthly. Storing up this world’s goods or thinking of the kingdom of God as a temporal entity is antithetical to gospel teaching. Biblical methods are subsumed under an avalanche of “modern” ones.
(6) Indulgent Versus Disciplined Popular music of all kinds is musically undisciplined. commercialism shapes the church’s worship when religious pop music is used. Profit is not its motive. methodology (congregations are consumers). All major labels are now owned by profit-driven conglomerates: Zomba. Even in the Christian music world. The business model works well for the pop-music industry. tempered and ordered by reason. and Time Warner. Gaylord Entertainment. but commercialism has strongly affected the quality of congregational musical composition in worship. Without compunction. aesthetic contemplation. Thus. pragmatic. profit motive and shareholder return motivate the industry.” Although the gospel is inherently noncommercial. It opts for indulgence and eschews restraint.

a more disciplined compositional approach would change the locus of the genre so that it would be unrecognizable.Pop Music and the Gospel
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To change the sentimental syrupy melodies of Tin Pan Alley. Christians have a duty to embrace discipline. and to be useful in worship. diets. and follow me” (Matt 16:24. Dietrich Bonhoeffer realized this in his book of The Cost of Discipleship. the brash vulgarity of rock’s tunes. Erik Routley why he couldn’t have particular music in church. and leisure time. it also ought to impact family life. hence. Without it. The counter measure to worship which tends to musical indulgence is the inclusion of disciplined forms in the service of worship. When a parishioner inquired of the late Dr. but good writing demands that they be taken into account. Worship Needs Disciplined Music. “You can’t have it because it is not good for you. he answered. the coarseness of country. Cheap grace might be fun and entertaining. but costly grace is the grace of the gospel. and take up his cross. For example. To do so results in a degradation of quality. Heavy metal and acid will be supplanted by even more audacious effrontery because pop breeds disorder. to be a symbol of the gospel. certain notes of the diatonic scale have voice-leading tendencies which limit the composer’s choices. One writes in the tension between law and freedom. great music always resides in the discipline between freedom of expression and the restraint of principle. Included in such a comprehensive list is music and worship. We can ignore them. That tension is compositional discipline. Called to be disciples. the gospel is about the fulfillment of one’s self-denial. The same can be said for the aggregate processes of composition. Its form has become more and more unruly. Yet. For composition to be good. Music of Excellence Must Be Disciplined. driving habits. “If any man will come after me.”
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. Songs which are more ascetic and classic than romantic and popular promote the kind of discipline necessary to foster maturity. They exist whether we agree with them or not. These tendencies come from the natural pull of steps and half steps within the context of the piece’s texture. Christian discipline is intended to affect not only religious things like prayer or Bible reading. music becomes either bound or indulgent. or the bedlam of rap. The antidote to compositional indulgence is compositional discipline. Pop cannot tolerate musical discipline. It is the mark of a disciple. Our permissive society is so prone to having its desires satisfied that it is a shock when they are denied. KJV). let him deny himself. it must shun indulgence.

It had to opt for a single. but by making something wholesome. the music needs some kind of hook to arrest listener interest. From prettiness to sordidness. when contemplated.” meaning openly affected. Thus. reveal themselves in an endless array of wonderment and awe. downright grotesque. Artistic beauty has little to do with pleasantness. Ease of consumption means just that—assimilation without aesthetic travail. The concept of great music is to engage the listener in a consideration of the beautiful. Integrity and exemplary action result in beauty. it has little time to make its case. The first impression of a song either makes or breaks it. sentimental. apparent. Quite the contrary. pop makes its unambiguous stand. Needing immediate punch without listener exertion calls pop to be direct and without listener discomfiture.” Later. That necessity is met by designing the piece around an element which most directly appeals to a specific audience. Such an engagement requires the composer to invest levels of imagination and craft which. popular music had little depth because it had to expose itself in a manner which held nothing in reserve. not by making something pretty (or as is the case with anti-art. art can deal
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. pop’s appeal must be instantly apparent. Whatever the case. Therefore. and bring glad tidings of good things!” (Rom 10:15. The important general impression of the first few bars of a song allowed no highbrow aesthetic impediments to come between the song and its potential audience. Musical beauty is very much akin to the Hebrew concept of beauty. other forms of pop grabbed listeners by exploiting outlandish rhythms.Pop Music and the Gospel
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Pop music endeavors to be pretty (as in the case of pre-WWII popular forms). It goes beyond surface decoration and deals with reality. Early pop music settled on making the tune “pretty. gushing. As universal aesthetic principles are held to and worked out with imagination and integrity. “How beautiful are the feet of them that preach the gospel of peace. or “nice. Great Music Takes Another Tack. or by featuring unmusical vocal or other sounds so loudly that they tended to mesmerize the listener. superficial characteristic which made its case without question. In order to meet this requirement. Artists reveal beauty. by making it singularly kooky). Musical beauty is the result of composition which is put together well and has a requisite component of artistic goodness. or even perverted (as in the case of the post-WWII pop). The theistic view holds that good action makes something beautiful. the art work exudes beauty. Feet are not universal symbols of physical beauty. KJV). flamboyant.

along with increasingly strident popular forms. There are no red oak or maple leaves on a white oak. we can ascribe worth (as far as this principle goes) to the composition. for example. Integrity and wholesomeness yield beauty—beauty that is not merely the outward appearance of a face. For example. finds beauty and truth in good action. Such a theorem is fundamental to art of all kinds. The result of doing the right thing may not appear “pleasant. Rather than focusing on the outward appearance.
(8) Aesthetic Imbalance Versus Gospel Balance A key aesthetic concept is the principle of a balanced unity and variety. Art music’s beauty is not the result of making the piece sound attractive but in making it artistically excellent. Every piece of music ever composed comes under its broad reach: rock. did what needed to be done and did it well. The reality of Jesus’ pain and sorrow is not avoided or glossed over in the gospel accounts. The music of a church indicates more than musical preference— it is the people’s collective testimony. sacred. pop. as is done in pop music. When we look at the leaves of a white oak tree. Worship. Although the crucifixion is not a pretty picture. or classical. The Bible. if it is to be “worth” something. The church needs music programs which disavow prettiness and embrace beauty. the Lamb of God.Pop Music and the Gospel
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with unpleasant subjects and yet show classic beauty. Gospel-inspired music needs to give the same attention to its substance and style. it is a beautiful one. Jesus. The extent to which a piece fulfills an artistic balance between its unifying devices and its varying ones. too.” but it will always be “beautiful. Saccharine sweet church music. Unity prevails throughout the tree. Benjamin Britten’s War Requiem is beautiful in its investigation of the horrors of war.” Church Music Mirrors the Gospel. central to God’s redemptive purpose (a purpose planned from the foundation of the world). This aesthetic principle was placed by God in the natural world. The inner workings of church composition should at least display an affinity for compositional character which is inspired by the integrity of gospel truth.
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. thrash. need to be eliminated. we can ascertain that every leaf is clearly a white oak leaf. needs music that mirrors the gospel. composers need the kind of compositional conscientiousness that yields profundity of craft. but the inner workings of character.

The best music has aesthetic balance between unity and variety. Much pop of the last several decades gives nihilistic and anarchistic impressions to the listener. Almost always this is accomplished through wild and orgiastic-like singing. and electronic decibel overkill. Both are without the benefit of meaningful technical variety. At every turn. one finds evidence of the tremendous variety within creation’s overall unity. we notice that while all the leaves are white oak leaves. even savagely. Even if one can get through this level of chaos. Composers shouldn’t try to circumvent God’s way of doing things. executed. Listeners also have an obligation to encourage the highest and best arts—those with a balanced unity and variety. Unity and variety need to exist in beneficent balance. It is essential for pop to have something about its musical elements which overunifies the form. A primary one is to make the music overly repetitious. Since pop is a music of immediate gratification. absolute chaos would result.
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Aesthetic Imbalance. On the other hand. If God so made the world that there is a balance between sameness and difference in nature. Aesthetic Balance. one is bound to find few levels of technical excellence. If we carefully look again at our white oak tree. playing. it gives cohesion to every created thing. Pop music is overunified. we should expect a certain consistency in His dealings with us. So here we have not only unity but also variety. If only variety were at work. God has made the world an inspiration for every composer. It might be the reiteration of a cliched harmonic formula repeated ad nauseam or a melodic fragment (similarly uninventive) repeated over and over again. Hardly any pop music exists without the steady hammering of percussion or percussive devices in an incessant cacophony of noise. The impression of complete pandemonium is accomplished through repetition violently. too much cohesion stifles inventiveness and invites boredom. Musicians committed to honest creativity have at their fingertips a wealth of possibilities which cannot be plumbed even in a lifetime. The numerous ways this can be accomplished marks the profundity of great composition. it must have some way to accomplish that immediacy. no two of them are exactly the same. Unity is a mark of God’s creation. Both parts of the proposition are necessary. The fact that God made the world well connected yet varied within that connectedness is a clue as to how artistic works ought proceed. Certain elements are repeated again and again for the sake of easy assimilation.

inside and out. “I sought the Lord.” Calvinists and Arminians have been arguing the relative merits of opposite positions for centuries. I believe it was Plato who said. All who are redeemed must come through Jesus because He is the only mediator between God and humanity. seeking me. God is at once up and down. The sides are not watered down to meet in the “middle. yet He allows us to choose. God directs the affairs of human beings. you can only hear it and feel its impact. He is immanent yet transcendent.Pop Music and the Gospel
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One can readily see unity and variety at work in human relationships with the Almighty. God has a balance between sovereignty and free will. The variety in His individual dealings with humankind must come within the unity of laws He has laid down. Unfortunately. Each armed with biblical chapter and verse eventually arrive at an impasse. that in losing our lives. God has certain limits beyond which He will not go. Life (resurrection) comes via death (crucifixion). and in giving we receive. His dealings with each of us are tailored to what He knows of our contextual condition. loving yet our judge. On a deeper level. One hymn says. On the other hand. In weakness we are strong. ‘Music is to the 7 mind what air is to the body.” The balance is something only the infinite can comprehend. but it is a balance incomprehensible to the finite mind. What is germane to our consideration here is that music is the best language we have for dealing with mystery. and afterward I knew He 6 moved my soul to seek him. we find balance in what are essentially mysteries. The best we can do is acknowledge the mystery. for music is something you cannot see. His relationship with each one is personal and individual. Scripture tells us that the first will be last and the last first. though highly inspirational. There a is just balance between treating all humans the same and treating each one differently. are not as mysterious as music. It was Van Cliburn who echoed what musicians have known for centuries: “The other arts.’” Church Music Must Have a Balance. yet each person in that family is unique (variety). God made us all one family (unity). Humans are so finite and God so infinite that He ultimately resorts to paradox in relating to His creatures. Pop music is made purposefully light and direct so that there is little ambiguity. God will not tolerate the breaking of His laws. He is absolute sovereign. That is its exact ethos. we find them. These are inexplicable mysteries. yet He gives us free will. not all music is able to deal with mystery equally. God Does Have a Balance. Both sides of each paradox are fully and completely true. Not intent on
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searching out great mysteries. Summary. plants the idea in the Christian that faith is like these things. novel. In being lifted up. Music of creative excellence and aesthetic balance is able to search out the hidden meanings behind the musical symbols. undisciplined. The foregoing comparison between the traits of pop music and the characteristics of the gospel can be summarized as follows: Pop Characteristics Entertainment Novelty Immediate Gratification Low Standards Subjective Worldview Commercial Indulgent Pretty/Grotesque Aesthetic Imbalance Gospel Characteristics Edification Creativity Delayed Gratification High Standards Objective Worldview Non-Commercial Disciplined Beauty/Truth Gospel Balance
The two lists are strikingly opposite one another. Entertaining and titillating the congregation with pop music is a sure way to promote infantilism. we touch something of the transcendent. If it is used. pretty or grotesque. worship music which is consistently entertaining. It seems obvious that a music (pop) which is so unlike the thing it is supposed to represent (the gospel) is unable to embody the gospel in its medium of witness (music). it aims instead to entertain. We are transported to realms beyond the temporal. One cannot go to church week after week and be fed religious pop without being negatively affected.
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. The transcendent nature of great music has so much to give—it is unacceptable to substitute pop music for it. pop is useless in spiritual endeavor. it does the cause of Christ much harm by painting an untrue picture of what the Christian life is. immediately gratifying. The musical and gospel balance between unity and variety ultimately gives way to a balance that is “explained” only by faith. Somehow great art touches a nerve deep in the recesses of the heart and mind. Because the power of music is so strong. Church music of excellence. Church music desperately needs musical art that reinforces the depths of aesthetic wonderment in faith. commercially-driven. Exactly what happens is a mystery. and unbalanced. Pop characteristics are antipathetic to gospel characteristics. standardless. subjective. Hence. It belongs in worship. and a balanced unity/variety is the gospel in musical action. delayed gratification.

Yet the incursion of worship and praise music after the model of pop is an accomplished fact in many churches. How we worship affects the Body of Christ. funk-like harmonies. rock musicians generally allow that rock is for dance (we’re not talking folk dance). Lyrical beauty gives way to stridency— even brutal screaming. consistent syncopation. visceral rhythmic manifestations. but the more extreme traits of various types of rock music. They tend to call such music simply high-energy music. For the Christian two things are worth noting: first. he could do no better than to include in his plan the use of pop in worship. Tension-produced gutteral utterances do horrendous damage to the vocal mechanism. This type of repetitive pounding immobilizes true rhythm. and clipped. Inc.. It is understandable for busy people to get caught up in an assembly’s preferences (shaped as they are by their daily listening habits) and in the stupendous marketing schemes of Praise and Worship providers. Adherents of rock dismiss such pronouncements. and sexual gyration. second. The overall musical impression is one of bodily looseness. Products of firms like Integrity Music. Maranatha! Music. the incessant hammering of rock’s beat inhibits flow. Believing that anything a worship company publishes is fine because it publishes “Christian” material is foolish. the definition of musical rhythm implies flow. To degrade worship into a religious mimicry of pop culture is not only heartbreaking but an outrage. The vocal timbre called for by this music tells the whole story. or EMI provide not only the general traits of pop. The rock beat paralyzes and incapacitates the listener into trancelike states of reflexivity. Worship leaders should analyze the Praise and Worship music they are giving their congregations. So-called Christian publishers actually
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. But music directors.Pop Music and the Gospel
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If the enemy were to devise a strategy to keep Christians from realizing their spiritual potential. back beats. Hard. Just listen to a professional recording. Driving beats. and others need to evaluate what is happening. unfocused vocal sounds are the norm. The Need to Evaluate Worship Music. They also damage the aesthetic sensitivity of the listener. harsh. Every religious leader and congregant should do all in his or her power to protect the integrity of worship. Revival of Worship Music Needed. No one can listen to this music for long before the decibel overload and the nihilistic sounds corrode one’s ability to respond to great music. Ironically. pastors. A revival of wholesome worship music is needed. Very little energy resides in immobility. unlyrical “melodic” lines combine in strident cacophony.

people eventually get what they want. at bottom. If the average level of musical appreciation were commensurate with the norms of great music. more inclusive concern exists. We are called to be salt in the world. music directors and pastors would not foist pop music on their congregations. The church would surely wage an intensive educational campaign if people were losing their ability to read the Bible. the church should mount a drive to reinvigorate music-education programs. Because people either prefer or tolerate popular music. The cause of the difficulty with musical standards in the church is. It is amusement music. One solution to the dilemma is for the church to encourage the making of. it has been provided. Conversely.Pop Music and the Gospel
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ought to be screened more carefully than others because their materials are used in worship. Throughout these pages. the aesthetic decline of the population at large. amateur music making.
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. performing of. The leadership of Gaylord Entertainment obviously felt that the new acquisitions would enhance their product line. It just needs to be good. Word Records and Thomas Nelson were purchased by Gaylord Entertainment for $120 million in 8 January of 1997. and listening to great music in the everyday life of the average citizen. local symphonies and choruses. In addition to concern for the quality of worship music. a larger. and piano lessons. It should discourage the purchase of pop in favor of “classical” music. and gospel balance are traits which can be found in great music. beauty/truth. It is dishonest to imply that religious pop is anything other than entertainment. Such music need not be complex. the gospel list of edification. non-commercialism. it has been stressed that popular music is made for entertainment. creativity. If music directors and pastors wish to find a music which exhibits these traits. discipline. It is naive to believe that such musical styles can shed their entertainment stripes and all of a sudden no longer entertain simply because they are used in worship. It is shortsighted to believe that the Body of Christ has no business with the very things that are causing it so much trouble. delayed gratification. The title of one giant company tells it all—Gaylord Entertainment. Similarly. Because the church has bought into the consumer societal model. high standards. Calling entertainment music “ministry” doesn’t change its entertaining ethos. Societal Aesthetic Decline. they need go no farther than music which is compositionally excellent.

Jesus acknowledged that few will choose that Kingdom. Recall that although the multitudes loved His miracles. they eventually crucified Him.” If the gospel was not made for popularity. The gospel was not intended to be “popular. and narrow is the way. we promote a different gospel. That is the point of this discussion. The conclusion is inescapable. there is a personal cost in serving God with standards to uphold and right choices to make. The gospel of Christ is a gospel of the hard way. It is the popular way with no Kingdom requirements. the disciplined way. In doing so. The gospel was not watered down for easy acceptability. that leadeth to destruction. Although salvation is free. the danger of pop is its diabolical ability to denude the gospel and delude the believer.
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. nor has it been changed to appeal to the adamic nature. On the other hand.Pop Music and the Gospel
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The foregoing comparative analysis between the values of the gospel and those of pop music has shown that the overall tone of the gospel shuns popularity. the long way. and few there be that find it” (Matt 7:13-14. It has no popular appeal. the narrow way that leads to life. which leadeth unto life. Think about His views on worldly possessions or revenge or turning the other cheek. and broad is the way. they were not prepared to deal with Jesus’ ideas on the Kingdom. Music is not the issue. Our Lord knew this. The problem with pop is not merely that it is poor music. If there ever was a reason to abandon pop in the sanctuary. KJV). and many there be which go in thereat: Because strait is the gate. He could not have made plainer the gospel position: “Enter ye in at the strait gate: for wide is the gate. A perusal of Jesus’ teachings shows a stringency unacceptable to the crowds He taught. Wanting an earthly king to put things right. many will choose the wide gate that leads to destruction. Pop transforms into a caricature of itself whatever it touches—even the gospel. The gospel is the issue. it is senseless to put it to musical forms which are made for popularity. this is it.

Ted Olsen..” Arts in Religion 19 (Winter 1969).” in Aesthetic Inquiry: Essays on Art Criticism and the Philosophy of Art. 3.Pop Music and the Gospel
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1. 1997). section A.” Christianity Today (April 28. p. 13. 1967). 263. 6. Schueller (Belmont. MA.
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. Ibid.” The Wall Street Journal (January 25. p. 1986) when writing his book.” The Hymnal 1982 (New York. “Great Music a Gift from God. Christopher Cooper. “Venerable or Not. p. Some months after Ken Meyer’s book All God’s Children and Blue Suede Shoes was published (1989). “Will Christian Music Boom for New Owners?. “Will Christian Music Boom for New Owners?” Christianity Today (April 28. Beardsley and Herbert M. 2000). CA. 1985). I received a phone call from him. Leonard Meyer. 80. Ted Olsen. 4.178. “Some Remarks on Value and Greatness in Music. During the conversation he assured me that he had had no knowledge of my Music and Ministry: A Biblical Counterpoint (Peabody. independently. had come to similar conclusions concerning pop music characteristics. in spite of the fact that both of us. p. p. Van Cliburn. ed. 80. 8. 5. EMI Was Bound to Be Absorbed. 7. p. Monroe C. 1997). number 689. 2. “I Sought the Lord. 3.

on June 19. He will shortly defend his doctoral dissertation on reformed hymnody between 1700 and 1870 at the Sorbonne University in Paris. others sent letters of protest to the conference and union officers. especially at Adventist youth rallies in Germany. -279Main Menu
. and in youth evangelism. Unfortunately.Chapter 11 ROCK MUSIC AND EVANGELISM by Güenter Preuss
Güenter Preuss is currently serving as a full-time Director of Music for the Baden-Wuerttemberg Conference of Seventh-day Adventists in Germany. is creating enormous polemics. A rap song was played for the special music before the sermon. While some of the youth were delighted by that music. 1999. this was not an isolated incident as Adventist rock bands have become a regular feature at youth rallies. He is actively involved in helping young people overcome their addiction to rock music and make good musical choices. Preuss has written several studies on music in the synagogue. The use of rock music. This is true not only in America but also in many Western countries. in the early church.” can be paraphrased today to read “To rock or not to rock.” The battle over whether or not rock music should be used for church worship and evangelism is being fought across denominational lines. “To be or not to be. ***** Shakespeare’s dictum. who apologized for what had happened. including my own country of Germany.900 people. From 1985 to 1995 he was Chairman of the Music Department at the Adventist College and Theological Seminary at Collonges-sous-Salève. a youth rally was organized in Nurnberg which was attended by 1. For example. in France.

as Chairman of the Music Department of the Adventist College and Theological Seminary at Collonges-sous-Salève in France (1985-1995). Contenders on both sides of the music debate are pondering their strategies in order to win converts to their cause. be used to keep youth within the church and to reach out to secular-minded people outside the church? It would be presumptuous to assume that this chapter provides the definitive answer to such a hotly debated issue. The best I can hope for is to stimulate a constructive dialogue among church musicians. I am one of the founders of the European “Adventist Music Society” (1999). A good place to start is with the definition of “sacred music. For the past 15 years I have served. especially the young. and administrators.” There are those who contend that music per se is neither sacred or
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. In addressing this divisive issue. youth leaders. Part 1 DEFINING THE TERMS A meaningful analysis of the current debate over the use of rock music for church worship and evangelism presupposes an understanding of the issues involved and of the meaning of the terms used. then. pop and gospel singers— passionately defend the use of their music for church worship and evangelistic outreach. in whatever form. The first part parts defines the terms and the issues of the current debate over the use of rock music.Rock Music and Evangelism
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Some Adventist CCM artists—rock. physiological. This chapter addresses this fundamental question: Can rock music. The ongoing debate affects me deeply because music has always been the passion of my life. as Music Director of the SDA Baden-Wuerttemberg Conference in Germany (1995-2000). has caused me to spend countless hours examining rock music from social. The recent invasion of loud pop music into our Adventist churches. and biblical perspectives. This essay represents a brief summary of some aspects of my research.1 Others strongly protest against what they perceive to be the music of Babylon. The chapter is divided in two parts. Sacred Music. moral. and. first. Special attention is given to some of the popular arguments used to defend the use of rock music in evangelism. psychological. Thus we attempt first to define the major terms and concepts around which the debate revolves. especially at youth rallies. Objective of This Chapter. The second part focuses specifically on the use of rock music to evangelize the secular-minded people. it is imperative to learn to disagree without becoming disagreeable to one another.

synagogue. but to glorify God and to inspire believers to conform to the image of God. or even on surgeons and dentists who use music as an anasthestic. Sanctification presupposes a separation from the world in order to be set aside and consecrated to the service of God. Is 1:13. and early church was different from the music played at social events for entertainment. Theologically. psychologists. behavioral scientists. and performance practices. but its lyrics. This popular view is flawed both historically. In the same way. The profane language used in the street is inappropriate in church. it has generated a whole tribe of children and grandchildren. harmony. it ignores the fact that the music performed at the Temple. mixing the sacred with the profane is an abomination to the Lord (Prov 15:8. purity. as the New English version renders it. that is. theologically. KJV). or. “Biblical Principles of Music.” They should try their theory on music therapists. Whatever is used for the service of God is sacred. but instead expose them” (Eph 5:11). the notion that music is neutral is discredited by research on the physiological. and holiness of God in its melody. To use the rock idiom in the church or in evangelism means “to offer strange fire before the Lord” (Lev 10:1. This is true also of evangelistic music which focuses on God’s saving grace and its transforming power in the life of penitent sinners. Rock Music. The old “Stones” are still “Rolling.” the music and the instruments associated with dancing and entertainment were excluded from the Jewish and Christian places of worship. From a biblical perspective. The “neutralists” could be likened to the members of “The Flat Earth Society.” and they have
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. For them. what makes music “sacred” is not its style. psychological. the notion that music is a neutral thing is negated by the Christian call to sanctification (1 Thess 5:23)—a call that encompasses all the realms of life. “unauthorized fire. and social effects of music. text. As shown in Chapter 7. The power of music to alter the mind and affect the body is a well-established scientific fact. Its goal is not to entertain or draw attention to the performer’s ability. rock music used in bars or nightclubs to stimulate people physically cannot be used in the church to elevate people spiritually. Historically. harmony. Scientifically. and scientifically. set aside for holy use. This is true not only of music but of speech as well. Sacred music reflects the majesty. rhythm. Mal 2:11). including music.Rock Music and Evangelism
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secular—it is a neutral thing. Defining rock music is a most difficult task because.” Paul emphasizes this principle: “Take no part in the unfruitful works of darkness. during its half-century of existence. 15:26.

at 4 least in part. to be drowned in. Most rock music does not seek a balance in composition among the melody. however. This “groove feeling” compels people to dance. acid rock. and ecstasy-punched rave parties. electrical bass. tempo. harmony. The old man. not just another “rock” style. such as jazz-rock. it employs highpitched strained voicing. and others. called “Rock ‘n’ Roll. Each one of the hundreds of different youth culture groups have their own “signal” vocabulary.” which means that the mention of a word or a short phrase suffices to evoke the topic and to stir up the listener’s emotions. Some “bang” it out with the whole body. In reality. No drug has been left untouched leading to psychedelic.
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. acknowledges that all5 the elements of rock music are designed to generate an agitated trance. Rock music conveys a physically driven feeling called “groove. classic-rock. but to be felt.Rock Music and Evangelism
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become the literal grandfathers of the newest techno and rap freaks. are volume. The music is dominated by a relentless rhythmic beat and general loudness which are designed to penetrate the bodies of the listeners with emotional stimulation. a German Protestant theologian who is a strong defender of “Christian” rock. and beat. repetition. their master brain. The basic musical elements of rock. Instead. dive in and drop out” is the motto and the effect searched for. Gotthard Fermor. drum set with a dominating one-beat. and ecstatic effects. 3 Scientists speak about “signal listening. Techno shares the common characteristics of rock music and sets new records in noise. “Turn on. polit-rock. Techno freaks claim that “their” music is a world of its own. using “shout and scat” techniques in order to obtain a top level of emotional touch. while disconnecting.” This feeling is caused by a slight difference in timing between the main “one-beat” in the drums and the “offbeat” effect of the other instruments or the singers. often accentuated on the second and the fourth beat. and rhythm.” married all kinds of famous women who have given birth to milk-and-coffee babies. It is a music designed not to be heard. latin-rock. Its main instruments are amplified electrical guitars. The lyrics are secondary to the music. Rock singing does not use the techniques of classical music based on a relaxed larynx and rich harmonic overtones. Keyboard instruments like piano and synthesizers are often added. including “Christian” rock.

Two major problems with CWM is that it generally incorporates rock rhythms with a heavy bass line and is very
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. finally. The deception is self evident. Country.. hip-hop. often recording in the same secular corporations. The significant difference is in the lyrics. metal. which covers a wide range of rock styles. to the “brighter tones” of folk rock. are available in a “Christian” version. Christians addicted to the secular rock beat can satisfy their craving for rock just by listening to a “Christian” version. which includes every type of popular music. Between these extremes is the “glitter” of rap. The multicolored spectrum of this industry reaches out from the “pastel” of folk. industrial. except for the lyrics. punk rock. etc. Hard. country rock. chanson. metal rock. Many of the same artists involved in CCM are also active in CWM. gospel rock. youth-choir music. Major Christian bookstores have a large section on music that usually is divided into the following categories: Contemporary. Not all CCM is rock music. the incredible “blinding colors” of Christian hard core. All the various styles of rock from soft rock to hard rock.. Musically speaking. although the two are often confounded. latin. Smith. Contemporary Christian Music. Alternative. which incorporate a wide variety of heavy beat music. An example is the song “How Majestic Is Your Name” by Michael W. and. the last three of which include harsh rock styles such as punk. Rap. Praise Worship. acid rock. for the simple reason that the medium affects the message. To define Contemporary Christian Music (CCM) is not an easy task. be legitimately used to worship God in the church and to evangelize the unsaved outside the church? The conclusion of this investigation is NO. retro. rap. country. ballad. because it comes in a variety of species like the famous 57 brands of Heinz soup. Southern Gospel and Black Gospel. It is estimated that about ninety percent of CCM comes in a wide variety of rock styles. in whatever version. heavy metal and techno. The medium we use to worship God and proclaim the Gospel determines the quality of our evangelistic efforts and the nature of the message to which people are won. Techno-Drive. most “Christian” rock is no different from secular rock. Related to CCM. etc. ska.Rock Music and Evangelism
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The capacity of rock music to alter the mind and stimulate the body raises an important question: Can the rock idiom. which are more biblically based. reggae— all “sanctified” through “Christian” lyrics and an ever-increasing audience of believers and unbelievers. Mainly it represents a type of soft rock. and dependent upon it. gospel. is Contemporary Worship Music (CWM).

In some cases. where we are told that Paul and Silas. achieving professional status. While the “Conservatives” are sometimes accused of interpreting Paul’s warnings against worldliness too narrowly. this text offers little insight into the apostolic use of music for evangelism.” We are not told whether the singing was intended as a witness to the prisoners or as an expression of confidence in God’s protection. the criticism is valid. while languishing in a jail at Philippi. in some cases.” who say: “We must keep our youth in the church”. Whatever the motives were.” they say.Rock Music and Evangelism
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repetitious. “We must use new methods to reach the secular mind. The debate over the use of modified rock music in church worship and evangelism involves two groups.” The Liberals tend to overemphasize God’s love and forgiveness in order to justify the use of questionable methods of evangelism. Some “conservatives” view the Christian life as gloom and doom. and the prisoners were listening to them.
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. The only Bible text which could be twisted to support a form of music evangelism is Acts 16:25. This is not right because Christians who have experienced Christ’s redeeming grace have reason to shout for joy. Each side tends to find rational and biblical reasons for their positions. music is never used as a medium for evangelizing the Gentiles. Most likely both motives were present. From a biblical perspective. Jesus warned against using vain repetitions in worship (Matt 6:7).” who say: “Do the youth dictate what we are to do?” “Where is the message of the Bible when we lower our standards?”. On the one side are the so-called “Liberals. “We must update”. Liberals Versus Conservatives. Part 2 ROCK MUSIC AND EVANGELISM To define the role of music in evangelism is problematic for two major reasons. This type of music is adopted by more and more Adventist young people who 6 are organizing bands and. The real issue behind the whole debate is the method of interpreting the Bible. were “singing hymns to God. “Can we convert the world by bringing worldly music into the church?” ”Liberals” accuse “Conservatives” of being “Puritan body haters. They label as sinful any legitimate expression of joyful excitement. one biblical and the other contemporary. On the other side of the debate are the so-called “Conservatives.” “You cannot bear enjoyment. the “Liberals” can be accused of taking David’s dance out of context in order to justify rock evangelism.

a gap is created between the music service at the evangelistic crusade and that of the weekly worship service at the church. Music. Christian rock artists. the music in the Temple was “sacrifice-centered. From a contemporary perspective. In the synagogue. the music was “Word-centered. Ecumenical Music. in general. thus undermining the identity and mission of the church. however. can ultimately result in the establishment of new churches characterized by their new worship styles. The process can be graphically described. in particular. stand in danger of becoming a sign of the times by participating in the destruction of the very Christian values it wants to communicate. Evangelistic Music Versus Church Music. By doing this. Today evangelism is defined more in terms of interconfessional communion than of proclamation of the Gospel as understood by different denominations. Many believe that evangelistic music should be different from church music because its goal is to reach people where they are. espouse virtually the same expression of a minimal Gospel. stemming from different churches. and evangelistic rock music. there is the conviction that secularized people must be reached by means familiar to them (“pick them up where they are”).” praising the Lord by chanting the very words of Scripture. the role of music in evangelism is a problem because ecumenism discourages proselytizing among Christian churches.Rock Music and Evangelism
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In the rest of the Bible. Doctrinal differences do not really matter and should not be expressed in song. music is always presented in the context of the worship of God and not of evangelistic outreach to the Gentiles. often brings the world’s agenda into the church. instead of bringing people from the world to Christ. What matters is joining together in praising the Lord. Any evangelistic impact of the worship music was indirect. This creates a gap between evangelistic and worship music. In the early church. which. As shown in Chapter 7. suggest that music was ever used as a means to attract Gentiles to the Christian faith. Even the whole “pop life style” is often regarded by theologians as something 7 “authentic” that should be accepted rather than condemned. No explicit indications. if not properly controlled.” extolling Christ’s redemptive accomplishment. This leads to the second step which involves changing the old-fashioned worship style at the church into
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.” praising God for the provision of salvation through the sacrificial offering. Gentiles who heard God’s people singing in some instances may have been attracted and converted to the worship of the true God. First. music was “Christ-centered. Evangelistic music.

” like many contemporary evangelical churches. Groups sharing the same tastes organize themselves in separate congregations. The end result is that the evangelistic rock music that was intended to reach and change the people of the world ultimately transforms the church itself into the likeness of the world. because the goal is to give people what they want to experience now rather than what they need to know to become citizens of God’s eternal Kingdom. Music becomes more important than biblical teachings. who are known as “the people of the Book. Incidentally. which predisposes people to reflect on the truths of God’s Word presented at the meetings. But the spiral of change does not stop here. Then comes the last step when different churches with the same worship styles approach each other to form a new denomination. not because of the discovery of new biblical truths.
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. and the following day “Christian” lottery or gambling. They are concerned that if the current trend continues.Rock Music and Evangelism
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a new “modern” style in order to accommodate the secular-minded people who are brought into the church. from a more lively type of music to more meditative music. Today the church chooses “Christian” rock music. The fourth step occurs when pluralism develops within each denomination. There is a need for a “decrescendo” of musical styles in each evangelistic meeting. but because of new worship styles that better satisfy the expectations of the baby-boomer generation. New Worship-Style Denominations.” eventually will become known as “the people of rock. but in keeping the two in close proximity. when societal trends set the agenda for the church which becomes caught in a never-ending race trying to keep up with the latest fad. tomorrow it will adopt “Christian” drama. This process helps us understand why the adoption of pop music is becoming a hot issue within the Seventh-day Adventist Church. Today a number of new denominations have come into existence. The result is step three. all of these activities are already taking place within some churches. driven by pop music. Many of its members fear that the adoption of a new style of worship. ultimately will undermine the church’s prophetic claim. Adventists. The solution to the dilemma is to be found not in eliminating any distinction between evangelistic and church music. The market-driven “seeker-churches” and the “body-oriented” charismatic movements constitute new brands of evangelism that claim to be role models for the Christian world to follow. The issue is no longer dogmatic unity but worship unity.

they ignore the second half of the verse: “not being without law toward God but under the law of Christ” (1 Cor. The mention of “itching ears” reminds one of the use of pop music today to satisfy the “itching ears” of the rock generation.” believing that it must adopt the idiom of the people to be reached. Jesus was also almost alone at the end. we have today the “Message-oriented” Christians who carefully analyze any innovative method before using it. Christ Himself was a keen observer of the culture of His people and borrowed from it valuable object lessons for his teaching. One strategy is “Message-oriented”—the church must preach the message of salvation without looking for results that could be generated by the use of pop music. and borrow
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. A negative attitude toward innovative methods that can enrich church worship and improve the effectiveness of the evangelistic outreach is deplorable. The second strategy is “Seeker-friendly. 9:21). Like Christ. we need to be sensitive to the contemporary culture. he often fled from place to place.Rock Music and Evangelism
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Two Strategies. and to Paul. With prophetic insight Paul warned that in the last days some will adopt a compromising strategy. But this was hardly the case. persecution. They justify their strategy by referring to Jesus who has sent us into the world (John 17:18). On the opposite side. but having itching ears they will accumulate for themselves teachers to suit their own likings” (2 Tim 4:3). To survive. 9:21). then he whould have become a popular evangelist.” they say. Had Paul been a “Seeker-friendly” strategist who was determined to reach the masses using their philosophical or musical idioms. The debate over whether “to rock or not to rock” in evangelism largely stems from two opposite strategies. because for them what counts is the proclamation of the message. even stoning sometimes. who said: “To those outside the law I became as one outside the law” (1 Cor. including music. not by couching it in the popular idioms of the Roman culture. not to look for success. but by proclaiming it in clear and compelling words. The “Seeker-friendly” Christians defend the use of rock music in evangelism because they believe that rock is part of today’s culture and thus is needed to penetrate the rock generation. “We are to preach. “The law of Christ” did not allow Paul to use the popular Greek choral songs or Roman plays to reach the masses. Unfortunately. yet His apparent defeat became His greatest victory. The reason is that Paul chose to preach the Gospel. “For the time is coming when people will not endure sound teaching. In his letters he tells us that almost everywhere he met opposition. drawing capacity crowds wherever he went.

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. Most rock music fails to give a “sacred shiver. Evangelistic music needs to be both “Seeker-friendly” and “Message-oriented. but it must avoid the music that fails to portray the beauty of Christ’s character and the seriousness of the whole plan of salvation. Evangelistic music can borrow valuable material from everywhere (from the past and from other countries). but it must not be distorted by idioms like rock music.Rock Music and Evangelism
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whatever can be legitimately used to reach men and women with the message of salvation.” It needs to be understood by the listener. Music and Culture. The music used in church and in evangelism must be sensitive to culture. but also because it represents a pantheistic and syncretistic form of religion which invites its followers to plug into the supernatural by means of dance. rather than conforming to its values (Rom 12:1). Happiness is mixed 11 with erotic undertones and joy with aggressiveness. that contradict its values. Christians contribute to the general 10 increase of physical stimulations and aggressiveness. That raises a question: Is the music of our worship services and evangelistic campaigns serving only the prevailing culture or enhancing also the content of the message? Our goal should be to meet both objectives. not even those of His disciples. missionaries ignore the native music and expect the people to learn and adopt Anglo hymns.” Evangelistic music must reflect Christ’s courage in confronting the culture of His time with the principles of God’s Kingdom. as psychologists explain it. This is true not only in Western countries but also in developing countries. Using such a medium in evangelism is like introducing “strange fire” in God’s House. Christ did not meet the expectations of His contemporaries. It can serve as a regression tool 9 towards their own childhood. not only because its values are inimical to the Christian faith. Similarly. but it must not distort the message. The use of rock in evangelism is inappropriate. sex. where. God’s message needs to be heard in a way that is relevant to people. We should be messengers of God’s real joy and peace. The use of rock music in evangelism should be avoided because it reminds young people of their rebellious past. By using rock in evangelism. We need to carefully analyze the culture and borrow those elements that can enhance the preaching of the full message. and drugs. Paul summons believers to confront the world with the principles of the Gospel. sometimes.

Only Rock Music Reaches Teenagers. But this must never become an excuse for giving people what they want. We hear people constantly saying: “Teenagers today will not come to church. had converted only about 0. the result was spiritual decline and apostasy of the church. Massive conversions sometimes bespeak of spiritual decline and apostasy.Rock Music and Evangelism
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Rock Music Draws the Crowds. We can only reach them with rock music. They mainly offer young people what they want—entertainment. Many teenagers are so immersed in rock music that a Gospel concert where this music is played provides them with an outlet to enjoy their music without the condemnation of their parents or church. Pop gospel musician John Allen acknowledges the danger of such concerts: “It seems undeniable that most of the audience is there simply to enjoy the music.6 percent of the population of the Roman empire. But this is hardly surprising since rock has become an indispensable part of today’s youth culture. Our biblical mandate is to present to people what they need to hear: God’s plan and expectations for their lives.” We live today in a pleasure-oriented society. then it was hardly a successful movement. not to be popular. not to think hard about anything: and there is a real danger of the emergence of a ‘Greenbelt Christians. If apostolic Christianity was to be judged by the number of people converted. all the evangelistic efforts conducted over a period of almost seventy years.14 amounted to one million Christians in a population This of about 181 million. A major argument used to defend the use of rock music in evangelism is the fact that it draws huge crowds at pop Gospel concerts. Why? Because by the end of the first century.’ consisting of semi-converted. By contrast. there are many evangelical
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. Pop Gospel concerts do not call enough for spiritual or moral commitment. in the fourth century when Christianity became a popular movement and pagans entered the church by the thousands. Empiric research has shown13 adolescents tend to listen less and that less carefully even to their own music. This shows that numbers can be deceptive. The claim that rock music draws the crowds is irrelevant from a biblical perspective. shallowly committed teenagers whose Christianity means little more than that the enjoyment of 12 festival-going. No one disputes this fact. It is becoming increasingly difficult to motivate people to attend meetings where the only attraction is God and the study of His Word. Our real concern is to be true to principle.” Is this true? Surprisingly. where people have a much greater appetite for what is amusing and pleasing than for what is edifying.

but in spite of it. not by their results. Rock Music Produces Excellent Results. I believe that people are saved. ‘Tonight. When evangelism is not conMain Menu
.” claims that tens of thousands have signed their decision card at his concerts: “There are 52. and yet they are filled with young people. Evangelistic methods must be tested. then one wonders where they are? If the claim about mass conversion made by so many rock groups is correct.’” The popular Christian press reports similar accounts of mass “decisions” registered at pop Gospel concerts. People have been saved in concentration camps because God can bring good from evil. Could it be that those who are clamoring for rock music are not the unsaved after all? John Blanchard raises these pointed questions: “Is it true that it is the unsaved who insist on the music? Or it is nearer the truth to say that it is young Christians who enjoy it so much that they insist on it? Is it true that the unconverted friends of Christians adamantly refuse to attend any evangelistic presentation except a musical one? Or is it truer to say that they are almost never asked? Isn’t it true that young Christians invite friends to Gospel 15 concerts as a first resort rather than as a last resort?” If the reports are correct that thousands of young people are saved every year through “Christian” rock music. Promoters of “Christian” rock music claim that God is blessing their efforts and thousands of young people are saved. and premarital sex. but this does 17 not justify the evil. and I want Him to 16 be my Lord. not because of Christian rock. for the first time. Mylon LeFevre. but by their faithfulness to biblical principles. We are thankful for every soul who is saved regardless of the method of evangelism. this is not the case. known as “The Solid Rocker.” Moses obtained excellent results when he struck the rock at Kadesh-barnea and produced enough water for all the Israelites and their livestock (Num 20:1-20). Franky Schaeffer perceptively points out: “The excuse that ‘sometimes people are saved’ is no excuse at all. There is no reason to doubt that some of the rock bands are genuinely concerned for the salvation of young people through their music and concerts. then we should see a noticeable decrease in violence. I understand who Jesus is and how He does things. drug use. The reality is that this music of entertainment confirms patterns of aggressiveness and violence.000 people who have signed a little cards that says. Unfortunately. Yet God punished him for what he did. civil disobedience.Rock Music and Evangelism
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churches where no rock music is played. But the fact that God uses such means to save people is not of itself an indication that every means that works is biblically valid.

were converted at a Gospel concert.” The reports of mass “decisions” for Christ made at pop Gospel concerts are suspect. and Northern Ireland.Rock Music and Evangelism
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trolled by biblical teaching. In planning for youth rallies like concerts or music festivals. it is vitally important for the Gospel to be biblically received. Rock music. The acceptance of the Gospel presupposes the use of the mind. “You shall love the Lord your God with all your heart. True salvation comes through the proclamation of true doctrine. several considerations should be
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. Wales. If they were serious about their claim. or 2. heart. the music is so loud and raucous that the words are hardly heard.1%. however. not only because of the message but also because of the atmosphere created by the music itself. rather than a manifestation of the power of truth. (Even this tiny figure almost certainly gives an exaggerated picture. Powerful music can produce emotional decisions. Paul Blanchard reports on a survey of 1. Its appeal is to the body and not to the mind. In view of the fact that in biblical psychology. After all. but he can hardly understand the Gospel. then it becomes a performance in manipulative skills. only thirty-nine. the mental response to God is paramount. is designed to be felt. they claim that the lyrics make the music Christian. and mind are used interchangeably to refer to the intellect. It involves a genuine repentance wrought by the Holy Spirit through the preaching of the biblical Gospel. yet. Scotland.829 young people conducted by his organization in England. and with all your soul. A corrupted or watered down presentation of the Gospel through a rock concert makes the decisions suspect. How then can a person understand the Gospel through rock when its music bypasses the mind? The rock fan may understand the rock signals (whatever they mean). “The poll indicated that of the 1. Practical Suggestions for Youth Rallies. on the other hand. the poll did not ask whether the musical presentation 18 was the specific means of conversion). and with all your mind” (Mark 12:30). not to be heard. At most pop Gospel concerts. How can the Gospel be presented in its convicting power when the words can hardly be heard? This exposes the contradiction of the defenders of “Christian” rock. The big question is whether rock music really communicates the Gospel without distortion. but a biblical conversion is not the result of an emotional. On the one hand. they would reduce the volume of the instrumental music so that the message of the songs could be heard clearly and distinctly. unthinking response. The young people came from seven major denominations. soul. the lyrics can hardly be heard.829 young people concerned.

inviting the youth to renew their commitment to the Lord. Youth cultures split into more and more different global cells such as bikers. But youth leaders should never abandon their responsibility of providing loving guidance. with stamping. This offers an opportunity to create specific Christian or Evangelical or Adventist musical subculture. Emphasis should be on a strong spiritual message. etc. the song leader. friends can and should be invited. Creative playfulness should be a self-evident fact and reality. A pleasant but sober atmosphere should characterize the meeting. Often I have seen that young people do not become enthusiastically involved in singing is because the music is too loud and they cannot hear their voices. and on congregational singing rather than on performing bands. We need to seek healthy alternatives to the music played in discotheques and night clubs. The volume of the instruments accompanying the singing should be very moderate. The function of the music is to serve as a servant of the Word. The song leader directing the congregational singing should ensure that the musicians follow his directives in keeping the volume under control. the music should be calmer and meditative. Great care should be taken. Of course. In planning for the music program. the motivation of the event should not be to imitate the popular rock scene. two considerations should be kept in mind. At the end. however. surfers. Clapping. and even quietness. etc. and swinging are out of place in the church. We must inspire and challenge the youth. Young people need to experiment. Simple heart-to-heart preaching and short biblical messages should be the main emphasis in any youth evangelistic program. and the speakers should work together to ensure that the singing and the preaching reflect the distinctive characteristic of Adventist meetings. tapping. but they could be allowed in a moderate way at outdoor rallies. Times of joy should alternate with times of meditation. yelling. to prevent the unruly behavior characteristic of rock concerts. The instrumentalists. First of all.Rock Music and Evangelism
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kept in mind.
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. Convincing presentations will at least reach the earnest seekers among today’s youth. but they should be informed about the special nature of the event. Each one has its own musical language. whistling. What thought associations will the music produce and what what will be the possible physical impact? Organizers should ensure that the music 19 is played with moderate loudness. They should support the singing and not supplant it. while being open to some unusual results. The program should start with fresh and lively music to arouse interest and establish a good contact with the people. fun sporters.

They should take the time to choose together appropriate music for the occasion. respect for authority. including music habits. rock music perverts the message of the Gospel simply because the medium affects the message. it teaches self-indulgence. and immature behavior. Christ calls for the recognition of our lostness in order that we might receive His gracious provision of salvation. to a change in lifestyle. but we question the legitimacy of their method for several reasons. It wraps people up in a guiltless and shameless self-satisfaction that ultimately makes the recognition of evil impossible. We commend the motives of these people. Rock music in evangelism undermines the effort to construct a strong moral foundation in the youth. pastors. The music itself is a powerful language. drugs. and pantheistic self-redemption. Rock music in evangelism works on imagination and on thought associations. Classical music presented with enthusiasm and quality can still impress young people. Rock music impairs the discriminatory sense of right and wrong built within our conscience. The constant puffing up of emotions destroys guilt barriers. sex. as any music. The same 20 goes for carefully performed folk styles.Rock Music and Evangelism
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Musicians. and purity. Rock evangelism confirms the “rock religion” which fosters a mixture of half-conscious religious feelings and behaviours that tend towards ecstasy and the occult. temperance. pleasure seeking. But rock music misrepresents the claims of the Gospel by encouraging worldly values. disobedience. intemperance. Rock music is not a neutral vehicle for Christian lyrics. when in reality they desperately need a radical change in their lives—a conversion experience. As a medium which promotes instant gratification. Listeners should capture a glimpse of divine awe in order to sense God’s calling to a complete commitment. and teachers should gather young people around them and plan together how to create an authentic Adventist music program suitable for church service and evangelism. Instead of promoting self-control. violence.
CONCLUSION The search for an effective way to reach secular-minded people with the Gospel has led many church leaders and musicians to adopt various 21 versions of rock music for communicating the Christian message. It is imperative for Christians to keep a safe distance from such idolatrous practices.
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. It makes people believe that they are all right.

or head banging. The individual testimonies are impressive. He has committed to us the message of reconciliation (2 Cor 5:18). pp. KJV). There is no need for the manipulation and stimulation of rock music to save people. May 8. May our evangelistic efforts be centered on the Rock of Ages. Popularmusik. The result of this heavy load of sound energy is that the mind switches off and leaves the field to the emotions to take over. stamping. Our responsibility is not to contaminate this message with worldly idioms.. “Neurophysiologische und psychomentale Wirkungen der Musik” (“Neurophysiological and Psychomental Effects of Music”). 14. 6. She speaks of the small units that people need in order to be stimulated by pop music. Pop Goes the Gospel: Rock in the Church (Durham. See. Christians should not allow their minds to be impaired by sounds or drugs. (Lecture at the Youth Music Workshop in Friedensau. 24. ed. 30. Youth Culture and Church) (Frankfurt. John Blanchard.” Adventist Review (July 17. 44. it is the proclamation of the Word of God. 5. Wolf Muller-Limmroth. Gotthard Fermor. See. p.
ENDNOTES 1. 2000).Rock Music and Evangelism
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Rock music also has a strong physical impact mainly through its volume and pounding beat. 4. rather than on the rock music of our age. Dörte Hartwich-Wiechell. p. Germany. because it is through their minds that they honor God by living sanely and soberly. p. Jugendkultur und Kirche (Popular Music. in Musik und Medizin 2 (1975). Jeff Trubey (note 1). England. The music needs to be loud in order to be “felt” by the listeners. “Das religiöse Erbe in der Popmusik—musik— und religionswissenschaftliche Perspektiven” (“The Religious Heritage in Pop Music—Perspectives from Musicology and Religious Sociology”). 1974). p. accompanied by the convicting power of the Holy Spirit. The pounding beat of rock leads to dancing. God’s proven method of evangelism is the “foolishness of preaching” (1 Cor 1:21. Evangelism has been and is greatly aided by Christlike music presented by Christlike performers. 3.
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. like rock music. 1997). 1991). Germany. Jeff Trubey. Pop-Music (Koln. but ultimately. 2. 1997). 8-13. “Making Waves. that brings people into a saving relationship with Jesus Christ. in Wolfgang Kabus.

Josef Hoffmann (a psychoanalyst). a German musicologist. pp. See on eroticism. 1999). 143-159. pp. Sloboda. Music in the Balance (Greenville. 9. p. 16. (a weekly journal) 11 (1993). pp. 12. Jugendkultur und Kirche (Bern. Michael S.
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. Deliege and J. 6. England. 14-20. youth culture. Barrett. Pubertät. Klaus-Ernst Behne. pp. Perception and Cognition of Music (Hove. Cited by John Styll. has conducted an internationally recognized study of 150 adolescents between the ages of 11 to 17.) Musical taste is well established already at 11 years of age and does not change considerably. Frank Garlock and Kurt Woetzel. mother. Switzerland. and church. 3. 145. The high tenor voice and the screaming of the rock singers expresses a “grandiose self. pp. 2000). 92-97. p. Microphones allow the singer to come directly into the intimate zone of the listener. edited by Wolfgang Kabus.” Psyche 11 (1988). 8. but also narcissm (self-centeredness) and merging with the cosmos. 961-980. 1900-2000 (Oxford. an German Adventist church music professor: Popularmusik. 1982). See several contributions to the volume on popular music. 11. and babe. John Blanchard (note 2).D. (“The development of ‘Musikerleben’ [‘the perception and experience of music’] in adolescence—How and why young people listen to music. P.M. “Mylong LeFevre: The Solid Rocker. 1997). Narzissmus. “Popmusik. World Christian Encyclopedia: A Comparative Study of Churches and Religions in the Modern World A. and found an alarming tendency towards a decline of sensitivity towards music. England. John Blanchard (note 2). “Unser Gehirn baut sich soeben radikal um!” (“Our brain is rebuilding itself radically”). 13.” in I.. Michael Kneissier. 15. and the pounding beat would guide the industrialized world into adulthood. relating the research of over 25 years of the Münchner Gesellschaft für Rationelle Psychologie (Society for Efficient Psychology. 10. 1992).Rock Music and Evangelism
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7. SC.” the mixing of father. p. ed. as positive tools in becoming an adult. 14.” CCM Magazine (March 1986). Concentrated and conscious music listening declines rapidly as time goes on. Hamilton. See. 29-30. “The Triumph of the Praise Songs. Munich) under the direction of Henner Ertel. David B. p. 98. He sees rock music.” Christianity Today (July 12.

Africa. The two presidential inaugurations were celebrated with two different cultural styles of music. Several of her articles have been featured in a textbook on music. The former was driven by excitement. dialect. thoughts. acceptance. “It is the sum total of their language. and dance. Bahamas. She has composed music for the University of Alabama Symphony Orchestra. ***** The music played at the inauguration of Nelson Mandela as President of South Africa was radically different from the music played at the inauguration of William Clinton as President of the United States. Osterman
Eurydice V. the General Conference Session of Seventh-day Adventists. and other elements of culture increases one’s level of tolerance.Chapter 12 ROCK MUSIC and CULTURE by Eurydice V. and a Board member of the American Guild of Organists. choir director. Europe. Consequently. Was the American music better than the South African one? Obviously not! Each music style was appropriate for the culture in which the events took place. Osterman is Professor of Music at Oakwood College. in Huntsville. and Bermuda. South America. What was once unfamil-297Main Menu
. She serves as organist. The latter was characterized by a stately and somewhat somber mood. Osterman has received awards for her compostions and recordings. She is the author of the book What God Says About Music. Culture entails the characteristic features and behavior of a group of people and the ideas and values that they espouse. She earned the Doctor of Musical Arts at the University of Alabama in 1988. jubilation. actions. and the London Chorale on BBC. customs. a knowledge and understanding of the language. and behavior that has been learned and transmitted through the years. music.”1 Culture is the badge of identity of a people. Alabama. and appreciation of a particular culture. She has presented numerous music seminars throughout the United States.

African Music. It also
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. Elements of Cultural Music. These are some of the elements that help define the music of a particular culture. work. or by memory. idiophones or percussion. sliding tones. and leisure activities. and dynamics that a group understands as its own. shakes of the voice. travel. speech inflections. genres—the standard units of the repertory. Ethnic music is generally based upon an oral tradition and originates from or is shaped by its role and function in society. intervals. selection and arrangement of pitches. These involve value judgments about aesthetics— judgments about what is proper and beautiful. stylistic elements—the characteristic sounds. They also have their own characteristic instruments—chorodophones or strings. their training or lack of it. by imitation.) which are all a part of the characteristic sonority. Music in non-Western societies generally has a religious or philosophical context. gender. timbre. the dance.Rock Music and Culture
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iar can be understood on its own terms—as the people understand it. Music has been transmitted orally and has served to communicate history and current events. Many elements of music are linked to words or text. music encompasses ceremonial life. composition—that is. text—the way language and music are mixed together. and racial and ethnic composition of the group. and movement—the physical activity. timbre changes. Today we have greater opportunities for learning about different cultures. In the African culture. whether the music is composed by an individual or by a group. aerophones 2 or winds. and membranophones or drums. levels of pitch. social organization—the age. Each group has its own sources of sound. Instant communication exposes us daily to different cultures in a way that was unthinkable in the past. and media which have made this world smaller—a global village. transmission—that is. Most often. They are simple in texture and consist of repetition or repetition with change which is fundamental. and vocal styles (sometimes hovering around a single tone. and the musical instruments used in the production of the music. Each culture defines its music according to its own criteria. scale system. etc. with pitch variations that are subtle but essential. ethnic music is uncultivated and engenders an emotional response from the listener. and have their own characteristic rhythm and harmony. contexts—the notion of when and how often music is performed as well as the occasion and its association with lifestyles. timbre. status of musicians—that is. whether the music is transmitted by a system of notation. and musical practices are determined by value systems within that particular framework which seek to preserve the sacred or mystical nature of music. due to technology. meter.

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has preserved communal values and solidarity. From a Christian perspective. Objectives of This Chapter. in its various versions. Specifically. style. rituals. Being a God of variety. vocal polyphony. The overall objective of this chapter is to consider whether or not culture really matters to God. By being a tonal language. Is there one particular music style that God expects us to adhere to? Are our value judgments about God’s ideal worship music really His values? The more specific objective is to discuss whether or not the use of rock music. this chapter has two parts. In some instances. Today God is worshiped in a variety of ways according to culture. spontaneity. and ceremonials. and geographic location— even within the same denomination. It is functional and social in purpose—dance. He understands that all forms of worship are shaped by culture and environment. there is a fine line of demarcation between the two. expressed feelings that could not be verbalized. Our study shows that this assumption is inaccurate. With such a cultural diversity. is a legitimate form of expression. entertainment. it examines the prevailing assumption that rock music is part of the African-American heritage and. The cultural diversity of music reminds us that variety is God’s gift to humanity. pitch height is vital to the meaning of words. should music be evaluated in terms of its cultural association or on the basis of the biblical distinction between the sacred and profane. it is easy to make a transition from speech to songs. Because the music is unrehearsed. The music is designed to invoke a response from the listener as an acknowledgment of what is3 being said. can be legitimately justified as a cultural expression of the African-American heritage. it is no wonder that there is controversy about what is acceptable or unacceptable music for worship. and glissandos.
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. slides. slurs. Some characteristics of the performance are call and response. There is a substantial difference between the structural components of rock music and those of AfricanAmerican heritage music. there is no concern for a right or wrong way of singing. consequently. The body also can be used to help beat rhythms or to dance. The first part looks at rock music in its cultural setting. African music has no theoretical base. which applies to any culture? With these questions in mind. and created a way to maintain a spiritually healthy community. Therefore. especially when it comes to church music.

and other abuses. The Negro Spiritual idiom also gave the community an opportunity to comment on its own situation while providing each member with a sense of belonging in the midst of a confusing and terrifying world. destruction of the family unit. beatings. not on the basis of biblical principles but of cultural concerns. trombone. Because the slaves were denied the right to learn reading or writing. They were forced to speak and sing in a vernacular that was totally foreign to them. The aim is to help the reader define what constitutes sacred music. which was eventually taken to the West Indies and finally to the southern part of the United States. Negro Spirituals. however. Their content centered around aspects of everyday life and served as an aid for participants to interact and communicate with each other. double-bass. This resulted in the evolution of a new dialect which is reflected in the rhythm of many Spirituals and their arrangements. Primitive. When African slaves were brought to America. music and language. As time passed. Though rhythmic in music. to relieve the monotony of work. guitar. Part 1 ROCK MUSIC AND ITS CULTURAL ROOTS The roots of rock music are generally traced back into the West African slave culture. all of which were used to create a special rhythm. they became the community songs based upon oral traditions emanating from Africa. and to alleviate fatigue. a dialect. because it enabled them to express their emotions according to their own traditional culture rather than of that dictated by their masters. Their music became known as “Negro Spiritual.Rock Music and Culture
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The second part of the chapter suggests some basic principles to guide Christians in making good musical choices. Consideration is given to six important characteristics of sacred music. they were stripped of two very important elements of any culture.” Their songs were inspired by the hardships experienced by the slaves: whippings. home-made instruments were gradually replaced by the clarinet. The Spirituals became the songs sung in a strange land. Negro Spirituals always expressed the hope of God’s deliverance of His people. and drums. they had to learn a new language by ear. and a music that became distinctly their own. lynching. trumpet. Although Negro Spirituals had a religious or philosophical context. Music played a very important role in the lives of the slaves. to create solidarity. giving
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. namely. they developed a vocabulary.

concertos. Instead. It is unfortunate that many of the Negro Spirituals are becoming lost or unknown to this younger generation because they are so seldom sung and passed along. The swing of the spiritual is also a part of the religious experience of the African American and is more of a feeling and a nuance than a notation. and the first5to have his compositions published as sheet music (1818). the youth of today tend to gravitate toward contemporary Black music. Chavalier de Saint Georges (1739 or 45-1799) was a violinist and conductor for the Opera’s Academie Royal in Paris and wrote operas. The list goes on. Polgreen Bridgetower (1779. The Rev. Francis “Frank” Johnson (1792-1844) was an American Black composer from Philadelphia who became the first to win acclaim in America and in England and take a musical ensemble abroad to perform in Europe. symphonies. over five thousand Black composers and performers have recorded. The result is that many African Americans do not know their own musical heritage. and composed Twelve Country Dances for harpsichord (1779). For example. George A. the first to establish a school of Black musicians.1860) was a good friend of Ludwig van Beethoven and was so highly respected that he was hired by the Prince of Wales to play in the court orchestra. Black youth today ignore the contribution of Black composers who created and performed classical art forms long before and even during slavery days. dedicated to the Princess Royal of England. This information is significant because it shows that Black music and musicians no longer need to be relegated to the rock genre.
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. which they claim as their own “heritage” music. He was also the first to introduce the promenade concert to the America. Ignatius Sancho (1729-1780) wrote the book entitled Theory in Music. and more. This sampling of Black composers and performers suffices to show that Blacks do have a legitimate classical musical heritage and do not need to seek their musical roots in rock music.Rock Music and Culture
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inspiration to a people denied their instrument of communication (drum) and forced to accept the Puritan idea that their dance and former life in 4 Africa was sinful. string quartets. especially the circumstances under which the Spirituals were born. Black Classical Music Heritage. For this reason. Today. a music that rejects Christian beliefs and values. performance is based upon popular entertainment practices. Richard Allen (1760-1831) was the author of the first Black church hymnal.

beautiful though they may be. The mood of the Blues is one of sadness. The emphasis is on the pleasures of this world. Buddy Holly. After World War II. country. fascinated by the beat of the Blues. they become the icons and role models for those Blacks who seek to rise above the stigma of the past. The distinction that we find in African-American music between the religious Negro Spiritual and the secular. represent a sad but significant chapter in the history of Black people. This is the result of the fall of humankind which is present in every age. Chuck Berry. Rock music.” This music became the expression of those Blacks who strayed away from or rejected the Christian faith. punctuated by a regular. “All have sinned and fall short of the glory of God” (Rom 3:23). and. heavy beat. bass. From this fusion. One reason Blacks tend to gravitate toward rock music and claim it as their “heritage” music is because rock does not have the negative association that spirituals have.Rock Music and Culture
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Negro Spirituals. Soon this music was popularized by singers like Bill Haley. and culture. Elvis Presley. and drums. White entertainers. African-American heritage music is predominantly melodic and is based upon the rhythm of the dialect. began to copy this style of music and augmented the instrumentation with electric guitars. Hence. irreligious Rock and Roll reminds us of the simple fact that in all cultures we can expect to find some music which is pro-Christian and some which is anti-Christian in its values. Black rock musicians and performers are respected for their talent and are portrayed as prosperous individuals who have contributed to the music scene. a new musical style was born—Rock and Roll. The roots of the rock beat are to be found not in the religious music of the African-American heritage. especially. They wanted to become respected entertainers by playing a secular music. The latter differs from the Blues because of its constant drum beat that makes it conducive to dancing. on the other hand. Rock Music and African Music Heritage. is based upon and is driven by a beat that overshadows and dominates all other musical elements. especially the enjoyment of illicit sex before or outside marriage.
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. but in secular and often irreligious music known as “Rhythm and Blues. Their contribution to religious music has not been fully recognized. The prevailing assumption that rock music is a legitimate expression of African-American heritage ignores the significant differences that exist between the two.

traditional dances for children’s games. because the missionaries did not understand the intricacies of playing them and because they were sometimes used in voodoo and other rites involving spiritualism. there is a technical difference between the two. rock music creates division and influences rebellious attitudes toward moral values and a disrespect for authority. a regular recurring pulsation. However. forward motion. is involved. drums are considered to be “society drums” which speak a language that could be understood by the people of the culture. particularly in the 6 area south of the Sahara Desert.Rock Music and Culture
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Rock Versus Heritage Music. They serve as a means of communication—signaling. but “mostly because the outside world knew very little about the geography and the peoples of this vast land mass. In the African tradition.” on the other hand. They are functionally based and social in purpose. Africa was nicknamed the “Dark Continent” not only because of the skin color of its inhabitants. In rock music. they were deemed evil. Drums were and still are an integral part of African culture. like the heart beat. this acculturation attempted to strip Africans of one of the most important elements of their culture. a key instrument in both situations. and is. for work. The truth is that. dance. Consequently. and other ceremonies. Scholars have traced the origin of rock music back to the African drum because of the complex rhythms that are also said to call forth supernatural evil beings. By observation.”
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. “Rhythm. entertainment. other than the use of the drum. For example. and for war. Perhaps the similarity is due to the fact that the drum. “They may be played at religious ceremonies of social 7 gatherings. one can see that all drums are not created equally and that they do not all have the same function. While heritage music preserves and fosters unity. drums are also a key instrument for they create a static punctuation through incessant pounding that is so characteristic of this type of music. is horizontal in structure and results from a combination of long and short note values that create a flowing. rituals. neither has anything in common. by definition. The “beat” is vertical in structure. A closer look at the characteristics of the African-American heritage music and those of rock music reveals significant differences. Even the body was used as a drum to beat rhythms. Are Drums Evil? The myth that drums are evil originated from European missionaries who went to Africa and could not relate to the culture. Failing to deal with African music on its own terms led the missionaries to substitute these traditions for those European standards familiar to them. authentic African drums are constructed from wood and animal skins. While most people use the terms “rhythm” and “beat” interchangeably.

The birth of rock has impacted upon various cultures around the world. drums seem to be the most controversial of all instruments. and the principles cited also apply to electronic instruments—synthesizers. amplified instruments. The “drum kit” (bass. Two Kinds of Drums. jazz drummers experimented with one person playing several instruments. In Western music. the widespread popularity of rock is causing the gradual loss of many cultural traditions.Rock Music and Culture
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What the missionaries failed to realize was that. when the “pop music” of the 1950s was called “rock and roll. It is interesting to note that these drums are played mostly with sticks or mallets. The melody was still the dominant element. due to the nature of its acoustics. totally displacing melody and harmony. Rock is a type of music that was
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. sound. the ensuing discussion on drums is in reference to the drum kit. In fact. the drum is not sinful per se and the rhythm of the drum is merely a language— a tool of communication that could travel much farther than the human voice. Effects of Rock Music. As technology and techniques improved over the ensuing years. and even gospel music. This is partly due to their traditional association with conjuring up evil spirits. drums have two categories—pitched (timpani. however. using feet as well as hands. snare.” it still exhibited some characteristics of “good” music. In fact. Today. and “the beat” which became the dominant element. rock bands. however. bongos. drum machines. In the 1920s. etc. and nuance. Rock music gained popularity when the Beatles came to America in 1964. while African drums are played with the hands. jazz ensembles. steel drums. and a decline in social mores. bringing with them drums.). and partly because of the way they are used in rock music to produce its relentless beat. suspended cymbal.) and non-pitched (snare. hi-hat) descends from the European military and marching-band instruments and is the source of contention today. tom-toms. the emphasis shifted from the head (melody) to the body (rhythm) both in message. Even the spelling of their name—BEATles—announced the arrival of a new type of music that would soon attract people around the world. Initially. etc. tomtoms. as an instrument. Within a few years. drum kit often referred to as a trap set. the drum is to the Africans what the shofar or the trumpet was to the Israelites. and all others that reproduce the sound of acoustic instruments. In light of this. the drum kit became one of the main components of popular music.

its hypnotic beat has inundated all genres of music. the result is the same because the eyes are focused in one direction—that of the flickering light. such as MTV. Proof Positive. While the body is bombarded by the pulsation of the beat.) • Obesity • Increased daydreaming • Weakened creativity • Reduced power of discrimination—inability to tell right from wrong • Conditioning to non-reaction response (laugh at rape. seventeen dangers of watching entertainment shows. As rock has hardened over the years. including Gregorian Chant. “Health for a Lifetime. etc. the most monotonous of all sacred music. the mind is hypnotized by the rapid fluctuation of light in the video. Neil Nedley appeared on Three Angels Broadcasting network on the program. another dimension has been added to ensure total mind control—video recordings. While the effect is not as noticeable in a room with light. morals.” This causes the
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. eating. This is due to the frequency with which the scenes change. when a television is on in a dark room. Dr. In addition to its hypnotic beat. In October of 1999.” He delineated from his book. and crime) • Violence lightly regarded • Irritability • Increased aggression • Accelerated sexual activity • Addictedness • Reduced time for productivity • Lessened family time • Adverse effect upon spiritual pursuits The effects of the “rapid change of reference scene” are parallel to another phenomenon of rock music called “switching. For example. drinking. with fluctuating lights which he calls “the rapid change of reference scene.” The seventeen dangers are: • Hypnosis • Reduced interest in reading and learning • Weakened brain power • Promotion of poor life-style habits (smoking.Rock Music and Culture
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created to be felt and not heard—a music that would anesthetize the senses of people from every culture. one can better observe the strobe effect of the light upon a wall.

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. or the sound of cry of defeat. Centuries later it was the dance of Herodias’s daughter that influenced the demise of John the Baptist. Satan desired to “be like the Most High” through rebellion and deception. . His aim is to etch his own image upon the character of every individual. While the birth of rock music is traced to the 1950s. impairs the capacity to make moral decisions. hyperactivity and restlessness. and saw the calf and the dancing. which has so adversely affected humankind. This can be seen especially in the rebellious and perverted behavior engendered by rock music. results in structural changes in the brain cells. There is also a drop in blood sugar (the brain’s nutrition source) which. This subsequently renders the body unable to distinguish between that which is good or that which is harmful. This mental effect is significant to our ensuing discussion on worship styles. and a loss of energy for no apparent reason. Moses’ anger burned hot. The Bible suggests that the gripping hypnotic drum beat. Joshua said to Moses. . KJV). “‘There is a noise of war in the camp. The Real Origin of Rock Music. dancing music has been around for a long time and has played a major role in fostering opposition to God’s will and and moral perversion. but the sound of singing that I hear.’ And as soon as he came near the camp. in so doing. and.’ But he said. “Thou hast been in Eden the garden of God.” (Ex 32:17-19). The Israelites danced around the golden calf at the sound of the beat. over a period of time. perceptual difficulties.Rock Music and Culture
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body to incur confusion and alarm. Some of the characteristics of rock music already existed at the time of Moses. the workmanship of thy tabrets [drums] and of thy pipes was prepared in thee in the day that thou wast created” (Ezek 28:13. The influence of the rock beat is not a new phenomenon. We read that upon returning to the Israelite camp after receiving the Ten Commandments on Mount Sinai. originated with Lucifer. ‘It is not the sound of shouting for victory. the phenomenon of rock music is not new. the crowning act of creation in heaven. and from that day he has sought to malign God’s character and erase His image in humankind. a decrease in performance (in school and work output). Biblical examples such as these indicate that rhythmic. reduction in decision-making capacity. Ultimately he was expelled from heaven.

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By worshipping the golden calf. commotion. was filled with a cloud . in praise to the Lord. the Israelites rejected the Creator and Redeemer God. The “noise” of their music was a cacophony of sound—discord. Two worship styles still exist today. Although their worship around the golden calf was spirited. The song was raised. By way of contrast. and pandemonium.’ the house. clamor. for the glory of the Lord filled the house of God”(2 Chron 5:13-14). However. Having just emerged from Egyptian bondage. They exchanged the glory of God for the image of an ox that eats grass. the Israelites were still in bondage to that cultural influence. disharmony. . The
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. It is significant that Joshua initially perceived the music directed to the golden calf as being the noise of a battle. “They made a calf in Horeb and worshipped a molten image. Two Worship Styles Today. They forgot God. visualize another scene. and behavior—are present today in the rock music that counterfeits the worship of God. disharmony. . Spirituality manifests itself in attitudes and behavior that coincide with that which is scripturally acceptable to God. God was not present at the worship of the golden calf because it was the worship of a manmade idol. the one obvious difference between the two is that one expressed an authentic worship of God and the other was a counterfeit. with trumpets and cymbals and other musical instruments. They imitated the idolatrous worship that they had witnessed for so long by employing the rhythmic dance they had learned in Egypt. . the house of the Lord. Unlike the singing at the inauguration of the Temple. We are told that all the Levite singers “made themselves heard in unison in praise and thanksgiving to the Lord. The “mixed multitude” that joined the Israelites undoubtedly influenced their apostasy. choosing instead to worship an object of their creation. ‘For he is good. their Savior” (Ps 106:19-21). Such a description fits well the blasting noise of rock concerts. they were not spiritual. One is known as the conservative style and the other the liberal style. namely. for his steadfast love endures for ever. Their music was an outward expression of an inward condition. the inauguration of the Temple by Solomon. . . The music of the Levite choir and that of the worshippers of the golden calf was similar in the sense that both involved a loud and emotional response. The same characteristic attitudes— commotion. God declared. Two Ancient Worship Styles.

ornamentation. They seem to forget that culture. Instrumentation includes drums.
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. They deem worship less meaningful if it does not fit into their cultural values and personal tastes. and the like. some of the most lively. consequently. is tainted by sin. This is hardly the case with the various versions of contemporary rock music. have had little or no musical training. It is rightly called “contemporary. The tendency today. and moving music is rendered within this style. We have shown that there is a radical difference between the heritage music of the Negro Spirituals and that of rock music. symbols. The liberal style of music. blues notes. and spiritual song leader who can inspire the congregation to sing wholeheartedly. on the other hand. and some contemporary Christian music.Rock Music and Culture
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church music in the conservative worship style is derived from the European tradition and consists of hymns. the musicians (and some pastors). although other instruments are employed as well. This means that culture must be tested by the normative authority of Scripture and not vice versa. although quite talented in other areas. “Black music” is more or less a label that has been attached to a style and sonority of music that is generally associated with African-American culture because it bears certain ethnic characteristics—compound meter (sometimes referred to as long meter). like anything in this world. In most cases. the quest for cultural preservation is at times taken to the extreme.” because it departs from both the African and European music heritages. Contrary to what some people say. rhythm. bending and surging of notes. however. and the music that best represents them. A determining factor is a dynamic. improvisation. On the contrary. Some think that contemporary styles are heritage music because of these characteristics and because they are popularized by Black artists. competent. hand-clapping. they perform mainly by ear. is more Pentecostal and improvisational in nature. and synthesizers which are coupled with the piano and organ. anthems. rich harmonies. the music of this worship style is not dead or dull. By definition. electric guitars. The organ and piano are the main instruments used. classics. Usually it consists of gospel music that fosters a foot-tapping. Because music within this context is erroneously called “heritage” music by some. among various ethnic and religious groups. “heritage” music is that which has been passed on to succeeding generations. syncopation. and body-swaying response. is to deify their culture through icons. beautiful.

“Walls of separation have been built up between the whites and the blacks. sports language. especially when it is elevated to “the standard” to evaluate music. This is one reason why the Catholic church finally permitted the mass to be conducted in the vernacular of the people. then it becomes a “foreign language” and is utterly useless to the hearer.” When Paul listed “tongues” as one of the spiritual gifts. there is legal language. what is known as “ebonic” or “Black” music has crept into the church and has changed the “language” and “dialect” of music from sacred to commercial sounding. it is irrelevant and meaningless and becomes as “sounding brass. Language is a communication tool made up of a vocabulary that is understandable and meaningful to the hearer. most likely he meant not only the ability to speak different languages but dialects as well. academic language. musical language. how can it be edifying? When we offer our music with the Spirit and with understanding. This conflict has affected the worship experience of many. I sense that the cause of the problem may not necessarily be the worship style itself.” The message is lost. The psychological scars resulting from this conflict have not yet healed.
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. If the musical “language” is foreign to the congregation. In worship. and the list goes on. The same is true for music.Rock Music and Culture
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The “Language” and “Dialect” of Music. when Christians obey the Word of God. and the church is not edified. These walls of prejudice will tumble down of themselves as did the walls of Jericho. The result is that a new musical culture was born. the operative word is edification. For example. To further illustrate the point. but the musical “language” and “dialect” that are used. let us consider the various kinds of “languages” that exist within the same language. or a tinkling cymbal. street language.” Edification. professional language. For example. The “dialect” associated with the language is what groups people together and becomes their identification badge of kinship. which enjoins on them supreme love to their 8 Maker and impartial love to their neighbors. If the musical language is foreign to the congregation. After pondering for some time the ongoing debate over worship styles. If the vocabulary of any of the above “languages” is configured in a way that all cannot understand. which is resisting and rejecting the European musical tradition. Anyone who speaks the language with a different dialect is usually called a “foreigner.

violence. God expects us to cultivate our voices so we can speak and sing in a way that all can understand. As various rock groups sprang up after the debut of the Beatles. the latter becomes the object of worship. Drugs. castes. When it is rendered in a form that is foreign to the hearer. Christian principles transcend cultural boundaries.
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. This does not mean that everything is appropriate for worship as long as it is expressed in the idiom of the culture. Never before had a “religious” song been aired on secular “Top 40” radio programs. The Danger of Ethnic Pride. instead of those of Christianity. it is meaningless. and every culture. The music began to reflect this philosophy as well. or ethnic pride in God’s kingdom. sex. This marked the beginning of the Contemporary Christian Music industry or what I call “pop gospel” music. Youth around the country began to “get high” on Jesus as they sang religious songs to the rock beat that they so dearly loved. They have provided opportunities for more Black artists to become involved in religious rock. because the blood of Jesus Christ was shed for every person in every race.” Thus the “Jesus Movement” came into existence. In 1969 the Edwin Hawkins’ arrangement of “Oh Happy Day” crossed the line. But after the civil rights movement. Unfortunately. to say nothing of becoming a number-one hit.Rock Music and Culture
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heavenly musicians join in with us. It is interesting to note that before the civil rights movement.” Christianity was placed in competition with culture. some young people. Since then. who had been searching for something better without finding it. decided to “Try Jesus. many religious-record companies have come into existence. Music in worship must be edifying to the congregation. often in an attempt to emphasize cultural identity. ministers preached the doctrines of the church without being concerned about ethnic differences. their music and lifestyle changed for the worse. At this time. We must be aware of the captivating influence of ethnic pride which is used by the enemy to divert our attention from God. were born the concepts of “Black power” and “Black awareness. and not vice versa. As noted earlier. many ministers became caught up in culturalism and began preaching on the attributes of a race. What merit do these issues have in light of our salvation? Jesus Christ taught that there are no territorial lines. and all sorts of immorality became prevalent among the youth culture and reached its zenith at the Woodstock concert in 1969. Thus. our culture must be tested by Scripture.

excite. rather than to save lost sinners. it weakens intellectual and moral powers. they are led. It is inundated with sensual overtones that dazzle. they tend to yield to the whims and desires of the parishioners. KJV). they allow them to follow the path to self-destruction. Popular pressure can sway weak leaders. He feared for his own safety and thus yielded to the whims of the Israelites. the spirit and manner in which Contemporary Christian Music is performed reflects the entertainment environment of the secular concert. and shall be turned unto fables” (2 Tim 4:3-4. as illustrated by the example of Aaron. and they shall turn away their ears from the truth. most likely he could have averted the apostasy at Mount Horeb. Today. as in ancient Israel. Had Aaron stood for principle. the holy is mixed with the profane. will9 yield to the desires of the unconsecrated. but after their own lusts shall they heap to themselves teachers.” When leaders are weak or afraid to take a stand. or some other pop genre. Instead. dulls our appreciation for that which is sacred. because the ultimate concern is to make sales. is as pleasing to the multitudes now as in the days of Israel. night club. etc. and thus encourage them in sin. In many instances. Church leaders need to understand that though certain musical styles reflect “the language” and “the dialect” of a particular people. Jazz. The music sounds like R & B. and sensationalism does not foster spiritual growth. the problem is leadership more than membership. and has an adverse effect upon our prayer life and Bible reading. entertainment. When the holy is mixed with the unholy and is incorporated into our worship. they do not necessarily represent the principles of God’s Word. who. having itching ears. How has rock music been able to enter the church? A major reason is the weak spiritual leadership of pastors who have been easily swayed by popular demand. while observing the rites of worship. causing their own eternal loss as well as that of the people entrusted to them. Rap. and induce undulation.
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How Rock Music Entered the Church. to devote themselves to selfish or sensual gratification. Paul warned that “the time will come when they will not endure sound doctrine. Music produced for the sake of profit. disco. Country Western. Often in Contemporary Christian music. When leaders fail to lead the people into paths of righteousness. while holding positions of authority in the church. Instead of leading. is the love of pleasure disguised by a ‘form of godliness!’ A religion that permits men. “How often in our own day. it becomes a blemished offering that God cannot accept. And there are still pliant Aarons. Rock.

The attitude that a few minutes of choir practice before the service is sufficient hardly reflects the importance the Bible places upon music.” blending in but not in any planned manner. It can serve as a weapon against discouragement and bring heaven’s gladness to the soul. The following elements of good music should serve as a guide for those who are interested in understanding more fully what constitutes sacred music that honors the Lord. because singing should be natural. inspire. and not by “unison in praise. It is imperative for church leaders to teach their congregations how to worship God in the beauty of holiness by explaining to them the basic principles of sacred music. It can fix words in the memory and impress the heart with spiritual truth.Rock Music and Culture
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Even during Jesus’ day. A first characteristic of sacred music is found in 2 Chronicles 5:13 where we are told that the Levitical singers were to “make 10 themselves heard in unison in praise and thanksgiving to the Lord. hand clapping.
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. Some Christians believe that practicing in order to praise the Lord is unnecessary. Such music is characterized by polarization and discord. Musical renditions are often inundated with or motivated by sensationalism (vocal gymnastics. Unity. Hot bands are known for “doing their own thing. Unity is vital in Christian music. and promote harmony. evangelize. Practice is needed to present our best music to the Lord. etc. There exists today the same need to protect the integrity and sanctity of the worship place. A characteristic of much contemporary music is improvisation. lavish chords. Often instrumentalists or vocalists improvise. composing and performing simultaneously on the spur of the moment. including its music. Discerning “good” music that honors God may be easier for some than for others. the system had become so corrupt that the Lord expressed His righteous indignation by expelling the money changers from the Temple because they had commercialized God’s House. excite. elevate. It is a powerful tool that can uplift. or induce undulation. Part 2 PRINCIPLES OF SACRED MUSIC Music is God’s gift to the human family. reinforce doctrines and beliefs. subdue uncultivated traits of characters. edify.” There was an unmistakable oneness and harmony in the sound of their music. The voices and the instruments blended together. swaying. keyboard runs. excessive use of ornamentation. etc.) in order to dazzle.” like in sacred music.

and hearing by the word of God” (Rom 10:17. 47:6-7. shallow. Contemporary Christian Music places considerable emphasis on praise. They need to understand that drums should be orchestrated to add “color” to the music and not be loud and overpowering or distracting from the message of the music. Jud 5:2. 18:49. Can this be said of the “Christian” rock music characterized by beat. especially drums. musicians must have a knowledge and understanding of the nature and function of their instrument in music making.” It helps to hear the Word of God more clearly. then the whole performance becomes an absurd and disrespectful exercise. and the music must not distort or push into the background “the word of truth” (Col 1:5).Rock Music and Culture
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To achieve unity. loudness. and syncopation? Does such music express the purity. Moses refers to God as “my song. and holiness of God? Does it celebrate God’s marvellous creative and redemptive accomplishments? Music about God should be like God.” Word-Centered. simplistic. Some of them are trite. Biblical truths are heard in words. should strengthen the message of the Gospel and not cheapen it.
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. then the rendition does not edify the listener because there is no “unison in praise. Sacred music. Music should contribute to the hearing of the message of God’s Word which builds faith. and he has become my salvation” (Ex 15:2). and lyrics to the point that the message is lost. The first recorded song in the Bible has these remarkable words: “The Lord is my strength and my song. rhythm. When the instruments overpower the melody.” because the whole song is consecrated to the honor of God and is intended to praise Him for delivering His people. Repeatedly the Scripture summons us to sing praises to the Lord with thanksgiving (Ps 7:17. harmony. much of contemporary music uses constantly the first and second person pronouns. A second characteristic of sacred music is its “Word-centeredness. but those songs which express meaningful praise are scarce. Jer 20:13). Ez 3:10. While the hymns of the Bible extol the greatness of God and His mighty works. Praise and Thankfulfness. reflecting Him. presented to the Lord and heard by His people. and entertaining. KJV). The Bible tells us that “faith cometh by hearing. The Temple choir was “heard in unison 11 in praise and thanksgiving to God” (2 Chron 5:13). This means that the sound of the music must harmonize with the words. majesty. A third characteristic of sacred music is its praise and thanksgiving to God. and communicating something of the beauty of His character. If the volume or the dissonance of the music are such that the words cannot be heard clearly.

and inspire. The gospel is the good news that Jesus suffered inhumane abuse in order to gain our salvation. The difference between the two is perceived by both the listener and the performer. This would be like Jesus riding into Jerusalem on12a donkey and the people applauding the donkey. However.” or “Christian Rap. There is no such thing as “gospel jazz. and by the clear message of the lyrics. KJV). but is also an affront to the magnitude of Christ’s atoning sacrifice. and cause them to discern between the unclean and the clean”(Ezek 44:23.” The enemy does not want us to “sing unto
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.” as opposed to entertain the listener. To trivialize the message of the gospel by mixing it with that which is secular (commercialism) is not only sacrilegious.Rock Music and Culture
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Ministry Unto the Lord. The holy should not be mixed with the profane. influence. In such cases.” Music is either sacred or secular. In ministry. one is hard pressed to develop a biblically based argument that advocates entertainment as a primary (or even second13 ary) goal in church services. “In the former (ministry) the musician and listener are moved by the music. A fourth characteristic of sacred music is its goal to minister “unto the Lord. the vehicle causes the focus to be on itself. Jesus just becomes the platform for the musician to display the flesh. “Teach my people the difference between the holy and profane. As Jacob Aranza points out. “the musician becomes another music star and the main attraction in place of the Lord. Rap “music” is rhythmic speech which contradicts the biblical directive to “sing” and make a “melody. while entertainment music seeks to bring attention to the musician. To assume that music that promotes perversion can be made into a medium that proclaims salvation just by changing its label and lyrics is like believing that the devil can be made into a Savior just by changing his job description.” and so-called “Christian” music that entertains the listener at home or in church.” or “Christian Rock.” Such labels are an oxymoron. In the latter (entertainment) the musician and audience are moved by the performer’s ability to communicate. by the godly character it reflects. This biblical imperative applies to the music as well.” There is a clear distinction between sacred music that ministers “to the Lord. In entertainment. control. Robert Beglund writes: “If entertainment is a prime goal of church services then music that primarily entertains is appropriate. Sacred music that ministers to the Lord exalts His holiness and majesty. How foolish and sad!” In his book A Philosophy of Church Music. attention is drawn by the vehicle to the subject 14 of the music.

standards. This has been the Christian challenge in every age.” Music Suitable for Heaven. . “The Christian life is a fight. .When objectionable matter is mingled with sacred matter. wholly Thine. . not a concert. saying “I would be. . “This is the will of God. A sixth characteristic of sacred music is its suitability for heaven—the homeland of music. not a festival. dear Savior. . . Sacred music should inspire us to renew our commitment to the Lord. . that the common will be allowed to take the place of the sacred.NIV). or does it tend to be soft. discipline. . . . teach 17 me how. Today the challenge has become more intense because Christians are pressured from every side to conform to those philosophies. but of whom you love. and life-styles that are diametrically opposed to those presented in Scripture. God never has nor will He ever use the devil’s tools to attract sinners unto Himself. . your sanctification” (1 Thess 4:3). slushy or sentimental? Does it help you focus your mind on things that are ‘true . Teach me how. . godly living. a conflict. noble .” “What voice are you hearing in your music? Does it appeal to the sensual or to the spiritual? Does it seem to have its roots in this world or in heaven? Does it stimulate pure appetites or impure? Does it lead you to want more of the world’s values or less? Are godless people comfortable with it or embarrassed by it? Does it help or hinder a desire to break free from the worldly way of doing things? There is no neutrality here—the Bible makes it clear that ‘Anyone who chooses to be a friend of the world becomes an enemy of God’ (James 4:4. pure 16 . values. sacrifice. It is not handed over to Christians on a plate.admirable . when the common is mingled with the sacred. A fifth characteristic of sacred music is its capacity to encourage disciplined. God revealed
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. Discovering God’s will for our lives should be the constant concern of every serious-minded Christian. The question is not essentially one of what 18 you like. praiseworthy’? (Phil 4:8). “There is always danger. . .” Godly Living. right . Sanctification does not come easily. It is a constant battle against the forces of evil and calls for vigilance.[God’s] 15 blessing cannot rest upon the work done. . . Does your music tend to lead you in these directions. . and spiritual determination. . lovely .” Sacred music helps us to live in the world without becoming part of it (1 John 2:15). there are those who have deluded themselves into believing that such music can be used to lead others to Christ.” so he created a counterfeit singing.Rock Music and Culture
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the Lord. Unfortunately.

are being replaced by praise songs which are more lively. especially among the youth. They have no desire to preserve the classical music which has come down to them. Their badge of identity is reflected in their music. church music. is the only one that has aggressively infiltrated each of the others and has blurred their distinctive features. should be a preparation for that glorious experience. Each of these is distinctly different. A humorous story may serve to illustrate the difference between hymns and praise songs.KJV).
CONCLUSION Cultural diversity began when God confused the languages at the tower of Babel and subsequently “scattered [the people] abroad from thence upon the face of all the earth” (Gen 11:8. “pop”/commercial music. “How was the service?” “Well. dialect. behavior. Upon returning home his wife asked him. and “pop”/commercial music.NIV) and every aspect of our lives. It does not stimulate them physically like rock music.Rock Music and Culture
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to the apostle John that there will be music in heaven. because they find it dull and irrelevant. The widespread popularity of rock music around the world is causing the gradual disappearance of some musical traditions. By so doing. it makes all music sound similar. A farmer attended a city church one weekend. which are the didactic aspect of religious beliefs. This sentiment is transferred into religious music. including our music. but they often lack biblical content and music quality. It is the gift of uniqueness that God gave to humanity. language. folk music. Hymns. Can you imagine this music being played or sung by heavenly beings? Can you imagine yourself singing the same song while standing before the indescribable majesty of the triune God? It is important to remember that “Our citizenship is in heaven” (Phil 3:20. Is the music you enjoy suitable to praise God in heaven? Does it give undivided glory to “the Lamb. In one of the most breath-taking passages in all of Scripture we are told that every creature in heaven and earth joined together in singing: “To him who sits upon the throne and to the Lamb be blessing and honor and glory and might for ever and ever” (Rev 5:13). ideas. which is characterized by the rock beat. Each people group became relevant in their own uniqueness. that was slain”? (Rev 5:12). Music can be classified in four major categories: art music. and values which were learned and transmitted from one generation to the next.” said the
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. Of these categories.

” The Word of God advises us to resolve this question. the white cows. sacred or profane. ‘Martha. “What is right with rock music?” Does it glorify God (1 Cor 10:31)? The question for the Christian must be: “What will please the Lord? Is there anything good about rock music that will please the Lord? Does it promote Christian values? Does it give a repentant view of human depravity? Does it build up the Christian faith or does it tear it down? Does it glorify God or extol human perversions? The answer to these questions is not difficult to find. ‘Martha.” said the farmer. COWS. When punctuated by a rock beat. MARTHA. because the message of the various versions of rock music is loud and clear. occultism. what’s the difference?” “Well. Its emphasis is on violence. “What are those?” “They’re sort of like hymns. If I were to say to you. Oh Martha. the cows are in the corn. If on the other hand I said to you. Some seek to glorify this hypnotic type of music by labeling it as a “cultural heritage. that would be a praise chorus. Frequently. Martha. neither are your ways my ways” (Is 55:8). sexual promiscuity.’ well. God accepts the worship of people of all cultures offered to Him in their different languages and music styles. Let us remember that if God is not pleased with our worship. the COWS. but in each culture a distinction must be made between what is holy and unholy. homosexuality. are in the corn. We are serving a God who says: “My thoughts are not your thoughts. the big cows. however. “Well. rebellion. “What is wrong with rock music? After all. asking instead.KJV). anarchy. drug culture. are in the corn. three hours. and not on peace. are in the corn. the brown cows. then all our efforts becomes idle chatter—“sounding brass and tinkling cymbal” (1 Cor 13:2.Rock Music and Culture
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farmer.’ well that would be a hymn. COWS. are in the corn. “It was good. this is the result—mindless repetition that soon becomes hypnotic in its effect. two chords. the cows. and holiness. it’s like this.” The purpose of worship is to glorify God. only different. temperance. They sang praise choruses instead of hymns. not culture.” Praise songs can be described as one phrase.” “Praise choruses?” said his wife. including our music.
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. the question is asked. The challenge of our Christian life is to “try to learn what is pleasing to the Lord” (Eph 5:10). They did something different. rather than to follow the dictates of our cultural heritage or societal trends. the black cows. it is part of my cultural heritage. MARTHA. then the true motive for worship is lost. When culture becomes the focus and the foundation upon which worship is based. faithfulness.

M. and that’s how it ought to be!” Indeed.Chapter 13 MUSIC AND MORALITY by Wolfgang H. minister of music. The notion that music is in some way governed by morality or that musical expressions could or ought to be evaluated as right or wrong. Japan. His dissertation deals with “The Concept of God and Sacred Music Style. the common view is that music means different things to different people. ***** Musician and teacher. Stefani is an Australian musician. France. Britain. pianist. Stefani
Wolfgang H. Mexico. hymnology. not thought about and analyzed. appropriate or inappropriate according to external norms. Objectives of This Chapter. Poland. music is practised most and thought about least. and Scandinavia. is considered preposterous. scholar. “Bravo. He has earned graduate degrees in music. and hence its usage must be considered a matter of culturally conditioned taste and preference. is morally neutral. The examination of this popular assumption is vitally important because defenders of “Christian” rock strongly appeal to the alleged neutrality of music to justify their adoption of modified versions of rock for worship and evangelistic -319Main Menu
. He has presented over 60 seminars on music in the United States. Australia.D. This chapter examines the prevailing assumption that music. and religious education at the graduate and undergraduate levels. He has served for 14 years as a church musician: organist. and a Ph. M. church music coordinator. in today’s postmodern world a significant number would respond with the words. and choir director. in Religious Education from Andrews University in 1993. apart from its lyrics. Henry Edward Krehbiel. philosophy of music.” Stefani has taught church music.”1 Rather than taking this as a rebuke. Because feelings are very subjective. once quipped: “Of all the arts. many people are convinced that music is to be felt and experienced. pastor.

” He goes on to assert: “I believe that music (particularly instrumental music) is absolutely void of moral qualities for either good or evil. For them. including a large proportion of Christians. It’s what the song is saying—and the lyrics of a song are what gives us that meaning. Listen to the almost irate statement of Maurice Zam (former director of the Los Angeles Conservatory of Music) made in a Chicago Tribune column to Ann Landers in 1993: “Let us emancipate ourselves from the myth that music has anything to do with morals. Instrumental music can be good or bad. Part 1 AN HISTORICAL PERSPECTIVE Defenders of Music Neutrality. “I love you. many Christians question whether or not decisions for Christ need to be made regarding music. This chapter is divided into three parts. This view is forcefully presented in Dana Key’s book Don’t Stop the Music. This is not to say that there is not good instrumental music or bad instrumental music. The first part defines the issues and looks at the morality of music from a historical perspective.”2 On face value. but if it is mistaken.
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. so people accept the premise as well. The tones E. D. A few examples will suffice for the purpose of our study.Music and Morality
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outreach. It’s meaning.” “I hate you. Music is as amoral as the sound of the babbling brook or the whistling wind. many today would agree with Zam. The last part examines the correlation between music styles and different conceptions of God. A Christian rock musician. A growing number feel that providing lyrics are acceptable. then Christians ought to be warned about the moral consequences of their efforts. but that isn’t a theological issue—it’s an artistic one. the music itself is not really an issue either for worship or everyday use. music is simply a medium and as such is morally neutral. Key openly states that “sound is not the important issue. If this popular assumption is correct. this illustration seems to hold. and C can be sung to the words. then the efforts to Christianize rock music must be commended. Whether overwhelmed with the complexity of the issues or simply ambivalent.” or “three blind mice. In fact. The alleged music’s moral neutrality is defended by people from all walks of life. The second part considers how the medium of music affects the message it conveys.

Hannum. Music Through the Eyes of Faith. well-known and respected Seventh-day Adventist musician and scholar. So.
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. Aesthetic criteria such as “unity. He wrote: “I believe music itself is without moral qualities either for good or evil.Music and Morality
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“The ‘goodness’ or ‘badness’ of instrumental music is based on the performers’ competence and skill. However. If it is performed skillfully. and Life then you have a song with which God is pleased regardless of what critics and some church folk say. not with the notes of a composition. it is worth considering further. before dismissing all evaluation as simply a matter of assessing these parameters according to culturally conditioned taste and preference without reference to any moral dimension. came to the same conclusion. writing in Ministry in September 1996.” Harold B. took a similar stance. logic and a feeling of inevitability . why cannot the issue be laid to rest once and for all? Perhaps the indignant suggestion that conservative religionists and other “self-appointed guardians of morals” (as Zam termed them) keep their interfering noses out of it and let others get on with using and enjoying music according to their tastes and preferences is valid? Or is it? Is there another side to this issue? Now.”5 Even classically trained Christian musicians go along with these ideas. The question has more to do with what the music is employed to say or do than with the music per se. balance. Faith. Harold Best (Wheaton College) took the position that “with certain exceptions art and especially 6 music are morally relative. variety. the famous gospel musician.”7 Later in the same work he affirmed that “moral and religious values should be kept separate from purely aesthetic ones. integrity. Heaven. climax. . It matters not what kind of movement it has.”3
Is the Message Only in the Lyrics? Thomas Dorsey. also maintained that “moral matters have to do with human actions and relations to others. .”4 Michael Tomlinson. it should be said that it is legitimate to affirm that aesthetic values are distinct from moral values. In his book. If the music is played without skill it is bad. it is good. He said: “The message is not in the music but in the words of the song.”8 The evident strength and assurance in these statements seems to suggest a consensus.”9 are rightfully used in evaluating both musical compositions and performances. if the words are Jesus.

two and a half millennia ago. This was not so. anger.. and their opposites and other qualities. Character is the backbone of our human culture. courage. India. including those of Egypt.”13 The Greeks and Chinese were not alone in their view. the quality of its music will furnish the answer. Why all the fuss? What was the problem? For the ancients the problem was clear. Even the statement of a prominent contemporary cultural anthropologist. Fascist.15 and many others. temperance. directly imitates (that is. conversely if he listens to the right kind of music he will tend to 12 become the right kind of person. Legislation or governmental censorship of this kind is considered 11 almost unthinkable today.14 the Roman writer Boethius. and if over a long time he habitually listens to the kind of music that arouses ignoble passions his whole character will be shaped to an ignoble form. he becomes imbued with the same passion. city states of ancient Greece. The idea that music has moral influence is evident among early Christian writers. and music is the flowering of character. if one listens to the wrong kind of music he will become the wrong kind of person.” There is no mistaking the clear relationship of music and morality in this understanding. . Communist. Aristotle and Plato taught that “Music .10 Other ancient cultures. evidenced similar concerns. Half a world away in China. music was considered to be such a potent and influential force in society that leading philosophers and politicians advocated its control by the nation’s constitution. . however. represents) the passions or states of the soul—gentleness. In short. music has come to be viewed almost exclusively as a form of harmless entertainment intended to provide pleasure and create congenial atmospheres with individuals consulting their likes and dislikes as the basis for usage. But. . if its morals are good or bad. For example. D. Alan P. and China. in earlier times. but. In contemporary Western culture. an imperial office of music (the Gagaku-ryo) was established to control musical activities. has strong implications for the connection between music and morality. and Islamic regimes voiced concerns about and implemented laws within their borders to control music. hence. For example. . This was the case in Athens and Sparta. when one listens to music that amadous a certain passion. He
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. which in turn influenced character and conduct. even during the twentieth century. .Music and Morality
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Morality of Music in Ancient Cultures. Confucius expressed a very similar understanding: “If one should desire to know whether a kingdom is well-governed. Merriam. They believed music affected the will. In Japan in the third century A.

Gaebelein makes the following perceptive observation which throws considerable light on this: “The bulk of the work being done in the field of Christian aesthetics represents Roman and Anglo-Catholic thought. but moral accountability
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. Music and the Fall. As Kilby observed. Before pursuing this line of investigation further.Music and Morality
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wrote: “There is probably no other human cultural activity which is so allpervasive and which reaches into. human creativity came to be seen as an aspect of humanity that was not touched by the Fall—an intact remnant of the original imago dei. Obviously. we enter a difficult arena with another raft of perplexing issues to confront. if we respond in the affirmative.”16 So what do we make of this? Clearly there is wide historical support apart from recent religious writers17 that music and morality are intimately connected. while some think that music is amoral. Its roots go deep into sacramental theology. During the Middle Ages of Western culture history. but can we really make that assessment of a product of human creativity? There is general consensus that song lyrics need to be evaluated as either compatible or incompatible. Thomism. Kilby framed the issue in the form of a question: “A man may tie his shoe laces or brush his teeth amorally. historically many others believed the very opposite. in relation to Christian faith and outlook. appeal was made to aesthetic criticism to ensure good quality art. in evaluating the arts. and such great writers as Dante. common tasks may be adjudged as amoral. Hence. but can he create anything apart from some degree of moral involvement?”18 A good number of Christians feel somewhat uneasy about the idea that on a sin-infested planet products of human creativity (which originate from deep within) are somehow undefiled and not subject to moral evaluation. it would be risky to decide the issue by majority vote. But what about the music itself? Doesn’t it need similar assessment? Unquestionably. then. and the arts as a whole for that matter? Frank E. Is this notion a relic of ancient superstition. right or wrong. Clyde S. However. Greek philosophy. or does it have some validity? One thing is clear.”19 The dominance of Roman and Anglo-Catholic thought in the field of Christian aesthetics is highly significant. why have so many argued for the moral neutrality of music. and often controls so much of human behaviour. have so few Christians grappled with this problem? Furthermore. one theological point deserves consideration. why should that challenge manipulate us into a default acceptance that music is an amoral island? Why. shapes.

Building on a concept of Emil Brunner. and the best was equated with aesthetic excellence. By such an estimate. For many Protestants. then Christians of evangelical Protestant persuasion have no option but to explore meaningful and legitimate ways
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. This means that Christian artists and all of us for whom the arts are an essential part of life and culture must constantly be keeping our eyes open to the marks of the Fall in them and in us also. rap. in the more objective fields like physics and chemistry they are less affected until in mathematics the distortion approaches zero. If Gaebelein’s logic is correct. and neither is the image of God utterly wiped out.20 Only the best was good enough for God.Music and Morality
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was never an issue because the creative impulse was considered to be essentially pure and innocent. multiple worldviews surfaced. and aesthetic pluralism also emerged. the arts. . each with their own individual aesthetic standards. we cannot be thoughtlessly laissez faire here. classical. society became more secular. have inevitably become acceptable forms of musical expression. even in worship contexts. which speak so subjectively and so very personally regarding who and what we are in relation to our Maker. this does not mean that humanity is totally worthless. Music Vulnerable to Sin. and a host of other musics.”23 For Gaebelein. So aesthetic evaluation came into prominence in Christian circles to the point that it eclipsed moral considerations.”22 Gaebelein goes on to explain how he understood this to work out in life as follows: “. good quality rock. Even the immoral life of an artist was considered of little moment as long as he/she produced aesthetically superior art. thrash metal. Country and Western.”24 However. aesthetic excellence tended to be defined in terms of the religiously acceptable. are very vulnerable to the distortion that sin has brought into the world. however. “humanity has been in the past and can still be today wonderfully creative to His glory. as the church lost its hold. By the exercise of God’s common grace. jazz. this paradigm does not take into account the “radical distortion” that sin has wrought in every field of human endeavour. . soul. Gaebelein suggested that “those areas of thought and activity that are closest to our humanness and our relation to God are most severely twisted by the bentness in us.21 As aesthetic excellence continued to be upheld as the only way to evaluate music. However. While the church dominated society.

when we listen to his music. simplistic assessments that lack integrity and are spawned through ignorance. What does this prominent scientist mean when he says music “dictates feelings?” How can music do this? One simple way to understand how this happens is to tune into a movie soundtrack. and acclaimed pianist) made the following statement: “Music in fact is an organization created to dictate feelings to the listener. bypassing the picture for a while. why do film producers use music to accompany such scenes. in 1984. Manfred Clynes (a neurophysiologist.
Part 2 THE MESSAGE IN THE MEDIUM Speaking at the Second International Symposium on Music in Medicine at Ludenscheid. not only to determine what is beautiful. unsuspecting child. can’t you? But. not music carry meaning? And how do producers decide what music to dub with the scene? Why isn’t “approaching monster music” dubbed onto a movie scene of a birthday party or a baby nursery? If lyrics such as “sleep baby sleep” were set to “approaching monster music” would it become a lullaby? Or would addition of the text “Jesus loves me this I know” render it suitable for children’s worship? In this last example. but also to establish what is morally compatible with the worldview we espouse.”25 Music Dictates Feeling. You can almost “hear” the creepy background music. What I am suggesting is no easy task. But. or would we evaluate the music as intrinsically inappropriate. They both highlight the fact that the supposed moral neutrality of music is really untenable. even wrong in that context?
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. or perhaps many others would have already successfully tackled it.Music and Morality
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to evaluate music. inventor. West Germany. The composer is an unrelenting dictator and we choose to subject ourselves to him. researcher. This in no way supports cavalier. imagine a scene in a sci-fi horror movie in which a lethal monster spider is creeping up on an innocent. How much can you determine about the film’s action simply by listening to the background music? Alternatively. would we only want to make sure that the “approaching monster music” was composed creatively and performed skillfully. especially when some would have us believe that words. here are two suggestions as a beginning.

It has never been a hit-and-miss venture. not lyrics. In the recently established discipline of sentics. Music is not a neutral medium. Words are not required in order for music to have meaning. Indeed. Indeed. . in fact. . producers seemed to be able to predict very accurately what music fitted with specific scenes or sequences. Second. The musical sound track that “dictates the feelings. this does not account for certain major assumptions made by film producers. it is also clear that music’s impact is not only a matter of conditioning. The pattern of music is that . respected contemporary thinkers about music have continued to affirm the conclusions of the Greeks about music representing the passions or states of the soul. Film producers make decisions about music. For example. Susanne Langer: “The tonal structures we call ‘music’ bear a close logical similarity to the forms of human feeling. stays the same. First. even across cultural boundaries. incorporating music on a film soundtrack takes for granted that music impacts all people similarly. a form of emotion communication. Research over the last thirty years or so has verified that the way music is constructed and performed embodies certain inherent characteristics that have long provided intuitive clues to its meaning. measured sound and silence.” as Clynes put it. only language tracks are changed. Sadly. That’s precisely why the secular industry makes informed decisions about the music it uses quite apart from lyrics that may or may not be present. the “children of this world” seem to be wiser than the “children of light”26 in some of these things. Even when a film is released internationally. music apart from lyrics communicates a message.Music and Morality
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Music Communicates Apart from Words. While this may be an obvious example. if this were not the case. . form worked out in pure. For example.
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. there is one example of how a growing body of documentary evidence is deciphering how human emotion is expressed and perceived. . several salient points about the nature of music are highlighted here and they must not be lost to our discussion. . Music and Human Feelings. Even before mass conditioning could be said to be a factor. in background music applications. while some may argue that music means different things to different people and that its affect is really only a matter of conditioned response. Third. The underlying belief is that background music will communicate the same message to all viewers. while it cannot be denied that with the rise of globalized mass media some mass conditioning regarding musical associations may have occurred. a music soundtrack would be pointless. and how music is.

powerful communications can take place.”28 In the development of sentics. enough has been provided to substantiate that a body of research now exists that demonstrates that music does communicate meaningfully in a way that can and
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. further embodiment of emotional communication can be demonstrated in the structure of the rhythmic pulse. That is to say. A caress or an exclamation of joy in music needs not to be consciously translated into a touch caress or a physical ‘jump for joy’ to be perceived as of such a quality. phrasing.34 This is precisely where Zam’s point begins to break down.33 Music Conditioned by Message. Any composer setting Zam’s three sets of lyrics (“I love you. make those three tones take on a variety of emotional colorations. . .. . This is achieved much the same way tone of voice is modulated to make a sentence meaningful.”30 When composers construct well and performers read and interpret their compositions accurately. an aural image of how feelings feel. Actually. . etc. It does so directly through perception of essentic form. when an essentic form is expressed well “a melody has direct access to engender the emotional quality in the listener without the need of auxiliary symbolism. . Clynes has begun to show how music does this. how they operate. rhythms. a composer places the notes so that they in effect fit the outline of the appropriate essentic form. accentuation.” “I hate you. Gordon Epperson maintained: “Music is the expression . . Musical tones are placed at suitable points along the path of an essentic form so that internally they can act as markers in the generation of the form. the musical tones engender internally the motor pattern of essentic form corresponding also to program points of a touch expression of the same quality. Without trying to be comprehensive at this point.”27 In a similar vein. D. .”32 Besides using the tones of a melody line. He describes it thus: “In producing a melody. Of course. and C never exist in clinical isolation in a piece of music. The surrounding harmonies. of the emotions.Music and Morality
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Music is a tonal analog of emotive life. Indeed. all this brings Zam’s illustration quoted earlier into perspective. Having demonstrated that the expression of emotion occurs 29 through certain predictable forms (which he termed essentic forms). I am sure Zam is aware that the tones E.”31 As Clynes elaborated: “. Clynes has gone on to show how musicians can manipulate the pitch and loudness of individual tones to embody essentic forms in a melody line.” and “three blind mice”) to music would not compose identically in each case. it can touch the heart as directly as can a physical touch.

According to Christian belief. and freelance mayhem that “was much in the spirit of the music” at the festival. fear. The violence and aggression in the music was suitably acted out in the accompanying moshing pit where fans gyrated to the music in frenzied thrashing movements. some churches in Los Angeles sponsored concerts and developed worship services around a Christian form of this music to cater for enthusiasts. hence. This type of music continued to be popular and was much in evidence at the 1999 Woodstock Music Festival. maturer commentators tried to weigh up the pros and cons of violence in a Christian context. arguing about the end perhaps justifying the means etc. The same would be true if lyrics about Jesus’ love for humanity were presented accompanied by music portraying anger.35 A crowd the size of Rochester. garbage out. morally wrong.Music and Morality
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ought to be evaluated for appropriateness. 1999. I see absolutely nothing Christian about diving into an audience on top of people or running around like maniacs. however. ’89] Some of those thrash people have their heads screwed up. emotions like anger. violence. Such mixed messages provide a confused communication of truth which is morally reprehensible. “Jesus loves me this I know” with an accompanying musical/emotional message of fear and suspense would not simply be a harmless mismatch of cognitive and affective communication. a letter from a young person to the editor of the April issue of the same magazine seemed to cut through the confusion.”36 When this form of music first emerged. hate.37 While the older. hypothetical example. In the late 1980s to early 1990s an extension of socalled heavy-metal rock music emerged and became known as Thrash or Speed Metal. love. sometimes even breaking limbs in the process. Lance Morrow described the arson. From a Christian viewpoint. not just a matter of taste. pillaging. to present the lyric. in hot conditions and under the influence of drugs and “vehemently moronic music” became a riot. Celebration of Violence. New York. This last scenerio is not merely an idle. not merely aesthetically poor. or joy are not intrinsically good or bad.. risking being trampled to
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. August 9. Alisa Williams from Chicago wrote: “What’s with this ‘Moshing for the Master’ crap?! [Feb. it would surely be crass misrepresentation of the Gospel (especially in light of 1 John 4:18) and. However. and aggression. and even rightness or wrongness in a given context. He summed it up in the words: “Garbage in. Even Contemporary Christian Music magazine was divided on whether to support or condemn this new phenomenon. In an essay in Time.

and even biological factors. however. Before continuing this discussion further. we need to define what is meant by “style. economic. Ironically.41 Music Styles Reflect Theological Views.39 This idea is usually strongly argued by those supporting music’s moral neutrality. Despite the recognized meaning of this music. some considered it acceptable simply because it was popular. I know we all have different musical tastes. No violence at all should be involved! “Now as for their ‘thrash’ sound—it’s a bit too wild.” Style
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.40 However. most disciplines have sought to become independent of metaphysical and religious considerations. No wonder we are left with a plethora of mixed and confused musical messages. Even in the study of the development of musical styles this is evident. Since the Enlightenment. If we have no external moral yardstick by which to evaluate our music.
Part 3 THE MATTER OF STYLE There is an even more pervasive factor that needs to be taken into consideration. when the anti-supernaturalist bias really began to grip Western culture. despite general acknowledgment that religion is intimately intertwined with the development of music in every known culture. ethno-musicologists working in non-Western cultures are gradually dragging Western scholars back to some important correctives in their understanding of how a musical style develops. this means that you end up with those knowing least about the Gospel determining most about its expression. It has become fashionable to explore and emphasize the influence of environmental. I’m 15 years-old!”38 What this young person saw so clearly highlights the hypocrisy of allowing the market to dictate music choice. God bless you anyway! By the way.Music and Morality
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death! This kind of violence has no place in a Christian concert. I know you mean well—You want to bring t h o s e headbanging unbelievers to Christ—but I think you’ve taken it a bit far. market forces will become the moral rudder by default. this letter is not from an old granny. It is often said by Christians discussing music that musical style is not an issue. but once you over step a certain point it’s just unbearable. within a Christian music context. This view reflects a stance taken in Western musicology over the past several centuries. sociological.

J. fundamental belief—the nonphenominal and transcendent aspects of divinity. the control of musical forms and instruments is in accordance with the conceptualization of the gods or of the individual focus of worship. Clearly. she observed the following of their music: “Religious music . So. The relaxed tempos. and not that? Paul Tillich once gave succinct utterance to a sweeping truth which sheds light on these questions. He wrote: “Religion as ultimate concern is the meaning-giving substance of culture. what drives the choices behind the development of style? Why compose this way. that the selection of music used. In abbreviation: religion is the substance of culture. . the calm and continuous movement.45 Similar substantiation could be cited from various other religions and cultures.44 For example. The limited range and contiguity of notes in Gregorian and Quranic chant. describing sacred music in Africa. forms the art.”43 It is becoming increasingly evident that fundamental beliefs or worldview factors are one of the major determinants of music style. humans do not create the tones. in any culture there is an observable human quest for compatibility between fundamental beliefs and the character of art utilized in a religious setting. Al Faruqi describes how the Islamic sacred music style is moulded by a significant. . in musical compositions. Early Christian Music and the Concept of God. H. In other words. the rejection of strong accents and changes of intensity or volume were likewise conducive to an attitude of contemplation and departure from
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.Music and Morality
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has been simply described as “a characteristic way of doing something. but the way tones are combined. the prevalence of stepwise progression.”42 Style is a term used almost exclusively of human actions or creations. the unfettered responses either to great joy or great sorrow. Noting this theological emphasis in both Islam and early Christianity. It designates a product of human choices. How this happens is well illustrated in the Islamic context. Kwabena Nketia. culture is the form of religion. how they are organized in time is all a product of human choice. avoided the emotive. stated this was a fundamental principle that appears to underlie the use of music in worship: namely. these factors become known as characteristics of a particular style. Hence. To worship such a god was to leave the everyday world behind and enter an awe-inspiring realm. the avoidance of large melodic leaps—all these contributed to this demand. how they are sounded. that which rules the heart. and culture is the totality of forms in which the basic concern of religion expresses itself. the frivolous.

.50 In fact. including a deliberate rejection of the abstract and the contemplative in favor of a strongly psychophysiologically stimulating musical expression. Music contributed little or nothing to dramatic/programmatic content or tone painting imitating the objects. in the immanent orientation possession is the ultimate desired outcome. has avoided the secular associations which instruments might bring. . has avoided the sensual and imitative in order to enhance the spiritual effect on the listener. Stylistic features are brought into existence in a search for fitting aesthetic expression of deeply
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. Two very different conceptions of god engender two very different styles of music because that which rules the heart. meditation. . Whereas in the transcendent orientation.” She continued by demonstrating that not only structure but also performance practice was belief-driven. emphasis on the immanent conceptualization of deity spawns a very different style of music.48 As one begins to explore the intimate connection between worldview and music style. and percussive instrumental playing (often with a loud performance style) which promotes group participation and instinctive movement is commonplace. relying on the human voice. As one would expect. events. . They are veritable embodiments of beliefs. or contemplation of the deity’s revelation of himself is worship’s goal. it becomes clear why Tillich suggested that it may be possible to “read styles” with appropriate discernment to detect which ultimate concerns are driving them. Notice the detailed extent to which style is influenced by belief in this case. Hence abstract quality has been a marked feature. .Music and Morality
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worldly involvement. kinaesthetic movements and emotions incompatible with the notion of religiosity among Muslims and early Christians. as well as the chordal harmonies which could be suggestive of emotional or dramatic effects.49 The demonstrable relationship between style and belief exposes the superficiality behind the claim that musical styles are neutral and incapable of proclaiming worldview. “Performance practice. ideas or feelings of this world. making elements of unity and change dependent upon correspon46 dence with poetic units rather than with narrative or descriptive factors. Even the use of the human voice or voices . Formal characteristics accorded with this tendency. Music styles are value-laden. forms the art.”47 Music Styles and the Concept of God. . the very opposite is true. Repetitive rhythm is emphasized over melody and harmony. The use of regularly repeated metric units would have tended to arouse associations. . . These were therefore avoided.

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. especially for worship contexts. The creative element (so closely tied to the very core of human nature) cannot be considered immune from sin’s distortions. if that language is lacking. with the result that a so-called sacred arts borrows its form from some kind of profane art. this in no way implies that it can be expressed and transmitted by any and every sort of form.”52 In other words. Indeed. because intuitively people sense a deeper substratum even if they can’t verbalize it. the clash over sacred music styles is really a clash of underlying beliefs about the ultimate nature of reality. At the bottom line. then it can only be because a spiritual vision of things is also lacking. if one believes in a moral universe lovingly and purposefully created. then decisions about the appropriateness. the evidence indicates that the issues surrounding sacred. but infected by sin to the extent that a terrible distortion has marred (though not totally obliterated) God’s image in humankind. even rightness and wrongness of musical styles. not just inconsequential aesthetic preferences. musicstyle discussions extend far deeper than petty likes and dislikes. to seriously espouse the idea that music is a morally neutral medium may be understandable from a secular viewpoint or if one believes that human creativity is untouched by the Fall. are mandatory. one is committed to both appreciating the evidences of good in our world and also recognizing and distinguishing the evidences of evil. If this is so. First. Titus Burckhardt has a point when he writes: “Granted that spirituality in itself is independent of forms.Music and Morality
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held truths about the really real. Christians have a moral responsibility to seek not only fitting lyrics for their songs but a musical style that legitimately expresses their understanding of God and of life. but to thoughtfully and prayerfully work out ways of facilitating discernment. not merely a matter of cultural taste and preference.”51 He went on to note that “A spiritual vision necessarily finds its expression in a particular formal language. Perhaps that’s why the discussions just won’t go away. However.
CONCLUSION Three major conclusions emerge from the preceding investigation into the morality of music. Further (even if it is not openly recognized). The answer is not to espouse moral neutrality in this domain.

Hence. If accurate matching and assessment of music is possible in movie production.Music and Morality
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Second. In the same way. to suggest that it is impossible in the worship setting. It may also open a way for Christians to develop a unique and more consistent aesthetic witness to the worldview they hold. Although a start has been made in my doctoral dissertation. it is surprising. what distinctive aesthetic witness to a lost world is being given in Christian musical communication? If it exists at all. especially in music. phrases. and sounded on certain instruments. But. Clearly. bold and reassuring versus fearful and apprehensive. is a very important task and one that will be rewarded with great insights into one of God’s noblest gifts to humankind. as the evidence mounts that styles of music are artistic embodiments of significant worldview factors in the belief systems of individuals and cultural communities. played with certain accents. appropriate verssus inappropriate. the implications for moral evaluation are imperative for Christians. they never appear in isolation. it is in the lyrics. while individual letters in an alphabet may be neutral. The ability to understand more precisely the vocabulary and syntax of music’s emotional communication is beginning to emerge. they take on meaning that can be evaluated as refined and decent versus crude and rude. and so on because of the ideas they encapsulate. in certain rhythmic formations. as they are combined together into words. Taste and preference cannot be the arbiter of appropriate/ inappropriate musical styles. The evidence gathered makes it imperative. Third. social. In music they are always presented in conjunction with other tones. even ludicrous. At present Christians tend to be followers rather than leaders in the arts. and emotional facets of humanity. right versus wrong. this task is not an optional endeavour. much more study is required to provide increased discernment in “reading” styles of music and making accurate assessments. evaluations of calm and peaceful versus angry and aggressive.
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. while individual tones may be neutral in themselves. Essentially the message is that in God’s kingdom we do music the same as the world does it. “Thinking about music. However. mental. reverent and respectful versus blasphemous and offensive. appropriate versus inappropriate. Christianity claims that it has a life-enhancing and life-changing message for the spiritual. and sentences. physical. not in the music. right versus wrong are increasingly possible.” although sadly neglected as Krehbiel suggested. evaluations cannot be made simplistically or superficially.

. p. Moses. 1988).. 1980). 1993. 1975). 50. Best. Ivan Vandor. An aphorism quoted in Australian Journal of Music Education 27 (October 1980). Ibid. Don’t Stop the Music (Grand Rapids. Keck and Sherrill V. Music Through the Eyes of Faith (San Francisco. p. p. Christian Search for Beauty (Nashville TN. 3. Jarrett. 5. 9. 1993). “The Role of Music in the Education of Man: Orient and Occident. The Quest for Beauty [Englewood Cliffs.”53 This is the twenty-first century’s challenge to all dedicated Christians committed to unfurl the flag of God’s Kingdom.13. 2. 1957]. Dana Key and Steve Rabey. but unfurling the flag of what ‘ought to be’ over and above people’s preferences.Music and Morality
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Risieri Frondizi posed a significant and worthwhile challenge when he wrote: “The essence of the moral reformer and of the creator in the field of the arts lies in not adjusting to the predominant norms.J. Maurice Zam in a letter to Ann Landers. “The NineteenthCentury Spiritual Text: A Source for Modern Gospel. Thomas A. p. p. 8. 7. p. Dorsey quoted in Oral L. 10. Harold Byron Hannum.
ENDNOTES 1. 6. 1989). N. Books are well written or badly written. eds. Harold M.” The World of Music 22 (New York. 50. 26. Michael Tomlinson. 12. p. 51.. (New York.. 42.” (Oscar Wilde quoted in James L. 69. Martin. CA.
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. That is all. p. August 19. p. p. This is very similar to Oscar Wilde’s view about literature: “There is no such thing as a moral or an immoral book.” in Feel the Spirit: Studies in Nineteenth-Century Afro-American Music. 112. 216.” Ministry 69 (September 1996). George R. Ibid. “Contemporary Christian Music Is Christian Music. or tastes. Chicago Tribune.) 4. MI.

” Rhythm in Psychological. Susanne K. Expressive Microstructure in Music. ed. pp.
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. ed. The Musical Symbol: An Exploration in Aesthetics (New York. for example. 1978). 1985). p. Contemporary Christian Music (April 1989). Doug van Pelt. 36. 20-21. 35. 4. 26-41. 1983). 31. 184-5. Ibid.. See. 39. p. Linguistic.” Time (August 9. Feeling and Form: A Theory of Art (New York. 29. it proves very persuasive. Manfred Clynes. See. 27. 38. and Musical Processes. 37. Perhaps a comparison could be drawn with the use of the word “no” said in different settings. 64. Manfred Clynes. Ibid. It is unfortunate that in an essay of this nature that all this cannot be practically illustrated. in disbelief. Lance Morrow. IL. in fear. Droh. Evans and Manfred Clynes (Springfield. 34.. ed. (For example. and in defiance. p. “On Music and Healing” in Music in Medicine: Proceedings Second International Symposium on Music in Medicine. Langer. Gordon Epperson. When presented in seminar form with musical examples. 120-122.
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25.) Notice that the same word is used. 28. West Germany. Sentics: The Touch of the Emotions (New York. 75. Stockholm. 1953). p. pp. Johan Sundberg (Royal Swedish Academy of Music. 1990). Ludenscheid. 33. James R. Manfred Clynes. J. Ibid.Music and Morality 24.” Contemporary Christian Music (February 1989). pp. “When Time Is Music. Linked to Living Qualities in Studies of Music Performance. Manfred Clynes. “The Madness of Crowds. 26. No. 32. pp. in anger. “Moshing for the Master. 4. Ibid. but the colorations of the voice communicate very diverse meanings and emotions. Spintge and R. Steffens (R. Luke 16:8 27. 185. 75. 1999). 1986). 30. p.

46. p.. 1983). The implications of this transcendent/immanent contrast are profound for the Christian setting and are discussed in detail in the writer’s doctoral dissertation. Kimball (New York. A Recently Developed Nation. 41. 1993). 50. 44. It is not really a new idea.” in Sacred Sound: Music in Religious Thought and Practice. 1983). 149.D. Scholars Press. “What Makes ‘Religious Music’ Religious?” in Sacred Sound: Music in Religious Thought and Practice. NJ. and Donna Marie Wulff. so is he. pp. University of Ghana. Berrien Springs. 98-99 and Bruno Nettl. The Gift of Art: The Place of the Arts in Scripture (Downers Grove. Lois Ibsen Al Faruqi. 47. Joyce Irwin (Journal of the American Academy of Religion Thematic Studies. 28. Aesthetic Aspects of Ancient Art (Chicago: University of Chicago Press. IL. vol. 42. pp. Gene Edward Veith. dissertation. 28. 26.” KJV 45. Ghana: Institute of African Studies. 43. Lois Ibsen Al Faruqi. Chico. p. for example. The Concept of God and Sacred Music Style: An Intercultural Exploration of Divine Transcendence/Immanence as a Stylistic Determinant for Worship Music with Paradigmatic Implications for the Contemporary Christian Context (Ph. p. The Study of Ethnomusicology: Twenty-Nine Issues and Concepts (Urbana. “Muwashshah: A Vocal Form in Islamic Culture.Music and Morality
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39. J. Best (note 6). Robert C. 40. Robert L. 159. 42. 50. 1983). “The Role of Music in Culture: Iran.. 58-59. p. CA. Jr. “On Practicing Religiously: Music as Sacred in India. Bruno Nettl and Ronald Byrnside (Englewood Cliffs. IL. and Harold M.” in Contemporary Music and Music Cultures by Charles Hamm. H. Bruno Nettl. 11-12. Scranton.165. for example. pp. See. 1959). pp. Andrews University. 1983).1975). p. This aphorism was developed during the writing of the author’s doctoral dissertation.
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. 218-270.” KJV and Luke 6:45 “Out of the abundance of the heart the mouth speaketh. CA. ed. Theology of Culture. 1964). Ibid. ed. vol. 1. It is simply a rewording of the biblical principle from Proverbs 23:7 “As a man thinketh in his heart. MI. Kwabena Nketia. 48. ed. Chico. African Gods and Music (Legon. pp. Joyce Irwin (Journal of the American Academy of Religion Thematic Studies.” Ethnomusicology 19 (January 1975). 1970). See. Paul Tillich.

Janet Jackson. and performer. Europe. on March 25.”1 -339Main Menu
. and spiritual effects. Yet it is my hope that this pain can have a healing effect in my life and a redeeming influence on the life of others. “She’s so Mystical. 1961. Neumann has done extensive research into the language of music and its mental. and the Communards.Chapter 14 FROM ROCK MUSIC TO THE ROCK OF AGES by Brian Neumann
Brian Neumann is a South African musician who spent 16 years of his life in the Rock-Pop industry before returning to the Seventh-day Adventist church. guitarist. Polydor Records—one of the largest international recording companies in Germany—signed up his band The Reespect. after Bill Haley and “The Comets” burst onto the scene in the fifties with “Rock Around the Clock. At present he performs and conducts music seminars across Africa. Since his conversion. ***** My spiritual pilgrimage from rock music to the Rock of Ages is a painful story of addiction. Africa. self-destruction. both in Europe and South Africa. Bible students who look down the prophetic unfolding of the end-time signs can sense more than just the irony behind this statement by Nick Paul: “Perhaps rave truly is the music at the end of the world. composer.” At that time. and final redemption. physical. As a musician Neumann had the opportunity of working in some of the best studios available in the recording industry. I was born in Malawi. rock till the hands of the prophetic clock struck midnight. Sharing this painful experience is like opening a wound that is healing. indeed. and released the popular record. and the United States.” During this time his band appeared with musicians such as Elton John. no one dreamed that rock ‘n’ roll would. Canada. He worked as a vocalist.

my early exposure to popular music was through radio and the records that my friends bought and shared with me. Some rock stars dabbled in the occult. They took drugs. My mind and body became completely captivated. I come from a fairly protected environment in my Adventist home. so I took drugs. rock music became the medium through which I could express my rebellion against the values of my family. I became hooked to the “groove. goals. Until 1976. so I was seldom exposed to the sounds of rock music. and a whole host of other pop-rock celebrities to the present trends of rap. Pink Floyd. I would no longer live according to the values my family had taught me. and Deep Purple. Uriah Heep.” to the whole idea and philosophy that drove the thundering freight train of rock. we can still feel. and soft rock led to heavier rock. Yet it happened. the church. Little Richard. so I made sex a driving force of my life also. in the heart of Africa. They were obsessed with sex in their dark existence. we had moved near Cape Town. and the sheer global presence of the rock revolution. I felt rejected and cheated. the “shake. psychedelic “pipedream” of 70s rock. and lifestyle. Let me tell you how it all began. their youngest son. South Africa.From Rock Music to the Rock of Ages
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From the early pioneer days of Elvis. and society. techno. the clothes. In a relatively short time. my natural love for music and art was channeled into the swirling. As for countless other young people.
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. Thus. became fascinated with the Devil. rattle. In a short time. the ultimate language to express my values. would ever find my way into the world of rock. we did not have television in South Africa. By the time I had reached the age of three. so I. Led Zeppelin. Instead of the meek and lovely Jesus. too. the fame. and my mom and dad were divorced. The Rolling Stones. How Rock Music Entered My Life Born into the home of a Seventh-day Adventist missionary couple. One song led to another. it seems absurd that I. to name a few. My introduction to rock music was very gradual. my new heroes were pop stars who came and went as pawns in the hands of Satan—Jimi Hendrix. They became my role models. Carlos Santana. and rave. almost to the very core of our bones. Rock music soon became my heart and soul. By the time television hit South Africa in the mid 70s. and the circumstances of my life were just right for me to begin taking a course that would lead me further and further from the faith of my birth. ‘n’ roll” of that driving essence behind nearly all forms of popular music—the beat. my mind was made up. I was captured by the power.

it was hard for her to see any light at the end of the tunnel. My mother’s heart was broken. which removes them from their parents’ world very effectively. and rock ‘n’ roll. It is well known that rock ‘n’ roll is deeply ingrained in sex and the avenues of the occult. I still would have chosen against any better judgment to do “my own thing. run away from home. feeling. is an oxymoron. Most kids who tell their parents. For example. the lyrics.”2 Rock music did remove me effectively from my parent’s world. been arrested by the police for drugs and theft. They don’t want to be the odd ones out. I’m just talking about changing the value system. sometimes physically. carried a back-page article entitled. You have to hit teenagers in the face with it!”3 Without question. A new era. At that time. Before I was out of my teens. My dream was to learn to play the guitar. so that I could work my way into the glamorous world of ‘sex. with fellow students and teachers. a new culture. The manager of the Rolling Stones once stated unequivocally: “Rock IS sex. the fashion. trusting that some day a radical change would occur. The advertising. most likely it wouldn’t have made any difference. By saying this I’m not talking about kidnapping.” Doing “your own thing. which I was doing with haste. doing my own thing meant expanding my recently discovered musical talents into the psychedelic world of popular music. had taken center stage in my life—as it has done in the lives of many others.From Rock Music to the Rock of Ages
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My addiction to rock music became so strong that I desperately sought to satisfy my craving by constantly listening to. yet she persevered in constant prayer and faith. Ultrakill. rock hit me with full force. “I want to do my own thing. because “doing your own thing” invariably entails following the dictates of popular trends. and the lifestyle of my heroes sent a loud and clear message. drugs. I had run away from boarding school.” of course. two issues of the South African metal magazine. in 1994. Soon I found myself almost bodily severed from the world and religious faith of my parents. A Life of Rebellion and Isolation The rebellion and isolation that rock music brought to my life gave prophetic realism to the words of rock star David Crosby: “I figured the only thing to do was to swipe their kids. fashion.” are saying in reality that they want to do what the other kids are doing.’ Of course. In my case. I knew—or thought I knew—that this was what it was all about. Even if I had understood the mind-bending power of rock music. and feeding on the hypnotic beat.
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. and fought.

the Serpent. I was first exposed to heavy rock in the early 1970s. and lord of misrule. long time. This was the age of free sex and drugs promoted by the world of rock. I religiously was absorbing the relentless. The music had a strange ability to break down the walls of resistance in my mind and opened me up to the idea of drug experimentation and a whole host of other things. I would never be liberated from its grip on my life. It immediately grabbed my attention and it was impossible for me to break away from it.
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. I didn’t need any other mind-altering substances. And sinful procreation has been the Devil’s province for a long. Beelzebub. Discovering these scientific reasons was no real enlightenment to me. It is hard to believe how rock and drugs can impair and even destroy one’s moral conscience. and not only possible.” That which had been wrong suddenly became right. The very term rock ‘n’ roll started life as a Black American expression for sex. the Devil took an interest in rock ‘n’ roll. I learned the scientific reasons for the physiological and psychological effects of rock music. It caused an incredible adrenaline rush in my body and evoked the feeling of reckless abandon and fearless confidence. even then. that barring a divine act. this did not diminish my need for other “real” drugs. everything became possible. and am still learning. The music itself had become a drug to me. In reality. There is a musical connection with all of this. Years later. I sensed the effects of rock on my mind and body. All that I learned. pulsating beat of rock. I wanted to be a part of this dreamworld. it is difficult to perceive how something as apparently innocuous as music can have such life-altering effects on those who expose themselves to its influence. Right from the very beginning.” It stated: “We’ve got Satan. I had already lived and experienced the hypnotic mind-bending power of rock. Satan. just serves to corroborate what I painfully experienced during those years I spent listening to and performing rock music. The combination of rock and dangerous narcotics made it possible to reach ecstatic “highs. Even before heavy metal. but also acceptable. Suddenly. that which was right became either boring or wrong. Of course. I knew.”3 How Rock Music Rocked My Life For those who do not understand the mechanisms at work in rock. Rock only increased my desire to push the adrenaline high to its outer limits. The music itself created a “high” of its own.From Rock Music to the Rock of Ages
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“The Truth about the Devil.

I had had my first encounter with the spirit world. funky. I made a promise to the Devil that if he helped me to fulfill my dream. the terms jazz. By the age of fourteen. This was literally the price I was prepared to pay. Jimi Hendrix himself explicitly stated: “Atmospheres are going to come through music. groovy. My Seventh-day Adventist background made me forcefully aware of the fact that I was playing with fire. The result became evident in 1980. because music is a spiritual thing of its own. You can hypnotize people with the music and when you get them at their weakest point. mojo.From Rock Music to the Rock of Ages
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From the early days of rock. you can preach into the subconscious what you want to say. Although I was climbing the ladder to rock success. having children out of wedlock is one of the most common characteristics in rock culture.
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. we were climbing the ladder to the “top of the stack. Our music was played on some of the popular radio stations. Climbing the Rock Ladder After the birth of our daughter. and my interest in the occult which had begun in my youth was by now a full-blown obsession. rock ‘n’ roll.”5 Rock music and popular culture preached to my subconscious that nothing was wrong with pre-marital sex. money and high life of the popular rock culture had become so overpowering that I was ready to sell my soul for the opportunity to be a part of it. and we were appearing on television. To all intents and purposes.” Drugs had become a natural part of my life. We were touring and performing. I was falling fast into the downward spiral of rock ‘n’ roll outer darkness. Indeed. One day in my room at Helderberg High School I poured my heart out to my lord—but my lord was no longer Christ. and boogie all have sexual or demonic overtones. The very terminology connected with the rock culture has strong sexual or demonic overtones. “Front Page” was the name of the band I was with. but the desire for the fame. I would give my life to his service. which we gave up for adoption. and having radio and newspaper interviews. For example. my girl friend became pregnant and gave birth to a baby girl. one year after finishing high school. Astrology. all of the big stars have known that rock music has the ability to hypnotize and weaken the moral resistance of people. I was busy establishing myself on the local music scene in South Africa. and other occult practices became the order of the day. numerology.

In February 1986. Level 42. drugs.” The release of these albums opened new doors of opportunity for us. we were invited to perform in Germany. Within three months of arriving in Germany. and more drugs. Two members of the band had performed with The Boys—a popular band that had a hit with the song called “Fire. now began to pull us apart. and our different musical ideas. our rock band The Reespect signed a contract with Polydor Records in Hamburg. and through the group I established a strong friendship with Manlio Celloti. I was becoming known in the professional field of popular music. I found myself on a flight to Europe and to new horizons in my pursuit of musical euphoria. Cellotti was instrumental in forming a new three-member band which became known as The Reespect. Eventually we broke up. In 1986. I met there with the other two band members and Manlio. Our keyboard player. studio sessions. women. Session work is like free-lance performance where one is hired
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.) This prestigious record company handled record releases for such bands as The Beatles. my moral state had deteriorated to such a point that no type of vice was beyond me. our egos clashed. had come from the famous international jazz ensemble Volger Kriegel. I launched into a solo career that found me in more studios doing session work. our new producer and our manager. interviews. By this time. (We inserted the extra ‘e’ in the name of our band in order to give it a luckier numerical value. For a time I performed with the popular local band Trapeze. we were met by a Polydor’s representative in an oversized black limousine. and many other rock bands. At the airport.From Rock Music to the Rock of Ages Germany: From the Top to the Bottom
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In 1980.” After a year in the studio recording music for new albums. we were flown from Cologne to Hamburg for a major recording convention. He became a regular part of all our composition and studio work. Mild Maniac. The success of our recordings caused dissension among our band members. a leading Italian producer of HI-Z Studios in Cape Town.” Life became a constant mirage of performances. It looked like we were on our way to the “big time. Chris de Burg. Soon I was invited to join the prestigious Front Page. Thomas Bettermann. We were invited to appear on a German LP compilation of various hits with such artists as Janet Jackson and Elton John. In September 1986. Polydor released our first album “She’s so Mystical” and then “Mamma Mia. which had initially worked to our advantage.

My body was loaded with four days of hash. The first important step I took was to cancel all my previously accepted engagements for recording and performing in Germany. I one day found myself face down on a cold bathroom floor in the home of a female vocalist. I was drowning in my own vomit. I sensed that in His mercy.” But the peak of the mountain remained hidden from sight. It was at this time in my career that after a marathon studio session and a huge drug binge in Hamburg. though I deserved no grace. My helpless condition made me realize that there is only one God and only one true way to life and happiness. cocaine. As you can imagine. my drug intake increased. God was willing to forgive my sinful past and accept me back like the Prodigal Son. my sudden decision disappointed and hurt quite a few people. He snatched me from the edge of the precipice and gave me another chance. by this time my life had turned into moral wreckage. The seventeen years I had spent performing rock and doing drugs had taken its toll. This was the most important life/death struggle of my life. at times. The Return to South Africa: A New Beginning Something happened that day in Hamburg. With this change. Looking back. my producer. Faintly. but this was only the beginning of a tortuous journey. Paradoxically. I decided to return to South Africa to start my new life. Germany. I thought I had reached a kind of spiritual nirvana. I would glimpse the rays of true light that would flicker in. My spiritual journey had taken an important turn. in my twisted New Age concept of religion. In reality.From Rock Music to the Rock of Ages
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to do recording or live performance for different bands or studios. I was scraping the bottom of spiritual darkness. For hours I fought against the clutches of darkness that threatened to engulf me. I realize that not only the drugs and decadent lifestyle had
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. fighting for my life. and my flat mate were all affected by my urge to “just get out. speed. and heroin. the battle for my life would have been lost right then. Had it not been for God’s compassion and providential help. and I would grasp pathetically at them. only to let them go and then find that the light was getting dimmer and dimmer. Unfortunately. and calling out to the God of my youth whom I had long since neglected. But God heard my cry of desperation and. Many times I experienced a relapse into rock music before I gained complete freedom from its addiction. My Swedish girlfriend.

Its beat comes from the jungle—they have rhythm. These problems did not worry me because I was determined to break away from my sinful past and forge a new life. subversion. The rock beat. Here I liken my musical compromise to a customized car. Instead of perverted lyrics. The style of music was a mixture of funk. . .”6 Numerous rock stars have spoken unequivocally about the destructive effects of the rock beat on the human organism. and physical life. It is impossible to describe the devastating effects of rock music on my spiritual. I decided to follow the example of Contemporary Christian Musicians by using my musical talent and a modified version of rock music as a witnessing tool. I believed I could reach especially the younger generation by presenting to them the message of the Gospel through the rock medium which they readily recognized and accepted. rap. apart from the lyrics. and style. attacked all the sensibilities of my organism with a relentless demonic force.”8 From Hard Rock to Christian Rock The return to my native South African soil left many loose ends untied overseas. spiritual message that was biblically based.”7 Punk Rock manager Malcolm McLaren declared: “Rock ‘n’ Roll is pagan and primitive. John Lennon himself stated: “Rock ‘n’ Roll is primitive and has no bull. the body work
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. and that’s how it should be! The moment it stops being those things. . . it’s dead . but for all the countless numbers of celebrated victims in the massive swimming pool of rock ‘n’ roll. . . . The most important factor in the equation was the rock music itself that instigated all sorts of evil in my life.From Rock Music to the Rock of Ages
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consumed my body. the true meaning of rock is sex. The famous rock star David Bowie. it could very well bring about a very evil feeling in the West . I began writing songs with a strong prophetic. it’s got to go the other way now. warned: “I believe rock ‘n’ roll is dangerous. and commercial pop. moral. . It gets through to you. . rock. Like many other CCM artists. This has been true not only for me. Rock has always been the Devil’s music. and very jungle. with almost prophetic insight. a relatively unknown individual. The interior of my vehicle was done up in the fabric of a Christian message. bringing about the dark era. I feel that we are only heralding something even darker than we are. and that’s where I see it heading. . Rock ‘n’ roll lets in lower elements and shadows that I don’t think are necessary. you can’t convince me that it isn’t.

at the time. we need to heed His convicting voice and toss out the garbage hidden in our closet in order to make room for purity and holiness. Needless to say. I never realized. It had chained me down more than
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. The reasoning and logic behind my choices and the decisions I was making appeared deeply sincere and coherent to me. Once one has repented. and the encouragement I received from those who were blessed by my ministry confirmed my convictions. the Bible teaches: “Do not be mismated with unbelievers. The application of this principle calls for courage to dissociate from the various forms of evil promoted by rock music. However. Nowhere does the Bible suggest that to effectively witness to the world we must use the world’s methods. Unfortunately.From Rock Music to the Rock of Ages
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was graffitied with the dazzling paintwork of rock ‘n’ roll. then one must recognize sin in his or her life for what it really is. how inadequate my spiritual vision was. I wanted to become “all things to all men. Changing the Lyrics Is Not Enough When I left my rock-music career behind to begin composing and performing “Christian Rock. and the windows were tinted with the dark shadows of semi-spiritual blindness. In spite of my spiritual blindness. Therefore whoever wishes to be a friend of the world makes himself an enemy of God” (Jam 4:4). I was addicted to the rhythm of rock music itself. This logic is used today by Christian artists who create modified versions of rock music to witness to the world. For what partnership have righteousness and iniquity?” (2 Cor 6:14). Like Paul. they fail to understand that to become all things to all men does not mean to compromise the purity and principles of the Gospel. No one could really see inside the vehicle I was driving. James reminds us that “Friendship with the world is enmity with God. And when convicted of sin. On the contrary. that I might by all means save some” (1 Cor 9:22).” much had changed in my life. the next step is repentance. It took me time to learn this important lesson. Once one accepts that the road to compromise is always progressive. I sincerely felt that the Lord was leading me in a new avenue of service for Him. the very thing that had captured me in the first place still remained. To experience the renewing power of the Holy Spirit. my pilgrimage from rock music to the Rock of Ages was a rocky one. all would seem like a load of emptiness if that repentance were not accompanied by true conversion—the putting off of the old and the taking on of the new.

whether spoken or sung. Irrespective of its lyrics. syncopated. So many Christian artists try to justify the use of rock in Christian services by the futile. in whatever version. Lyrics sung in a breathy. Contemporary Christian Music that conforms to rock’s essential criteria in any sense cannot be legitimately used for church worship. and persistent rhythm of the “rock beat. although slower in nature. Another important point to consider is the expression. and unblemished conduct. Secular Rock and “Christian” Rock In spite of contrary claims. It was His life of purity and integrity combined with the convicting power of the Holy Spirit that touched the lives of so many.
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. but also of atmosphere and tone. I failed to realize that I could not legitimately reach the secular world by using a language that has been proven to be disastrous. atmosphere. jazz. The lyrics are very important. In all circumstances. He did not practice dishonesty to please the tax collectors. Why? Simply because both share the same musical rhythm and are driven by the same relentless beat. refined. The reason is simple. I am not talking only about lyrics here. and not through its lyrics. but He never once sacrificed His moral principles to attract those He was ministering to. metal. syncopated beat and often overaccentuates it. illogical attempt of changing the lyrics. He did not sing sensual music in order to excite people physically. These hardly provide an appropriate medium to express love to a Holy God. no significant difference exists between secular rock music and its “Christian” version. The impact of rock music. A lot of soft rock. and delivery of soft rock. Some argue that so-called “Soft Rock” should not be placed in the same category as the other harder forms of rock. This is not true. He never became a drunkard to reach the alcoholics. are delivered in a unique tone to convey a special intent. Contemporary Christian Music in its rock. Christ mixed with the outcasts in order to reach them. That had become my pitfall. He did not dress like a prostitute in order to reach one. rap.From Rock Music to the Rock of Ages
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all my other vices put together. but the beat is the real heart and soul of it. or related forms shares the same accentuated. rave. over-sentimental tone suggest an atmosphere of love or lust between a man and woman. but the most powerful element of rock music is its beat. He set an example of pure. still carries a consistent.” Other aspects may also be shared. All words. is through its music. too.

This lingering attachment to rock music proved to be my downfall. which is unselfish—and not to what is termed eros– love. The result is that our worship services are becoming spirited rather than spiritual. we have to exercise great care and discernment because not everything that comes with a Christian label attached to it is necessarily Christian. From “Christian” Rock Back to Secular Rock My radical break from rock music was a gradual process. It is the lack of faith in the power of the Holy Spirit that has made music for many an essential crutch for evangelizing unbelievers and entertaining believers. I began compromising also on the kind of music I was performing. The primary function of music is to worship and praise God. They have been so blinded by the magical power of popular music that they now eagerly accept the lie as if it were the truth. This is true even if it does not have a heavy beat. The compromise was easy because all I had to do was change the lyrics. Had I retained Contemporary Christian Music as one vital link to the world of rock. By 1989 I became recognized as one of the national top guitarists and was respected as a competent songwriter. however. I found myself gradually spiraling back into complete darkness. I became very active on the local. It was not long before I reestablished my rock career in Cape Town. I convinced myself that marijuana was not so bad because it is a natural drug. In spite of my good intentions. Music as an Evangelistic Crutch Contemporary Christian Music is seen by many as an effective medium to convert people to Christ. it would have been just a matter of time before I would fool myself into “comfortable Christian compromise” or fall right back into the world of secular rock once again. Only a radical break from rock music cured me from this addiction. liveMain Menu
. nothing in the Bible or in the history of the church indicates that music was ever used as an evangelistic tool. The music style remained the same. Surprisingly. I speak frankly on the deceptive power of rock music in all its forms.From Rock Music to the Rock of Ages
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Music designed to express love for Jesus should conform to what the Greeks call agape–love. used ritually by indigenous native tribes as a peace-inducing herb. especially since upon returning to South Africa I had embarked on a “Christian” rock ministry. which is erotic and self-centered. It took me years to learn that lesson. because I have been deceived by the same lie and know exactly how easy it is to fall into this trap. Slowly I slipped back into milder drugs. Some have supplanted the power of the Holy Spirit with the hypnotic spirit of music. When choosing our Christian music today.

like cocaine and LSD. One reason was that I had sworn I would never get involved with heavier drugs again. Within less than a year of their first visit with me. Paradoxically.” The Second Turning Point of My Life In 1992.From Rock Music to the Rock of Ages
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music scene. “Sex and drugs and rock ‘n’ roll. Weeks turned into months. the young lady who eventually became my wife. The other was the baby girl given up for adoption at birth and who I had dreamed of meeting for many years. But somewhere along the line. such a meeting would never have taken place. I could see so much of myself in her. that promise was broken. Both times we were attracted to each other. I immediately fell in love with my daughter Leonie. which in essence was encapsulated in that well worn-out rock ‘n’ roll slogan. I began sharing a line of cocaine or two. But the kindness and caring attitude of this pastor and his wife cannot be overestimated. Pastor Tinus Pretorius and his wife Lenie. while still convincing myself that I was having some deep spiritual experience. new emotion that I had never experienced before. I could spend hours writing about the depths to which I had sunk. building up a following of people who enjoyed my technical rock-guitar style and who were looking for something new and original. almost two years after meeting Sue. they moved with my daughter down to Cape Town. The compromises became endless and covered almost every aspect of my existence. In 1990. a cap of acid here and there. Under normal circumstances. I had the opportunity of meeting my daughter who had been adopted almost ten years earlier by an Adventist family. The Lord used two persons to influence my life in a tangible and permanent way. months became years. We met again a year later at a restaurant where she was a waitress. Pastor Tinus was assigned to two
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. One of them was Sue. and the endless cycle of clubs. as her adoptive parents had named her. drugs. I experienced the second turning point. at a live concert in which I was performing. spirituality still remained an important aspect of my life. At some parties and during moments of willful weakness. and socializing all but killed the spark of hope that once was ignited in a foreign land. and a spot of hash if it were available. not realizing that we were the same two people who had met a year before. When a child is given up for adoption in South Africa. I met Sue for the first time in 1988 in Cape Town. the biological parents lose their rights to see her or him again. and felt a strange.

a city located about 700 miles north of
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. Everything seemed to be just right. causing me to consider once again my destitute spiritual condition. Rebellion. The apparent issue of survival became the mechanism the Devil used to trap me once again.” a fitting name for my spiritual despondency. I didn’t have the faith in Jesus that I needed to see me through making a radical break with the music scene. No misery is worse than knowing the truth and yet running away from God’s sanctifying power. churning out the message of rock ‘n’ roll to captive audiences wherever I went. In spite of my timid steps toward Christ. and sorrow followed the few steps I had taken toward Christ. I formed my own band called “Project Cain. But I thank God that He never gave up on me. Yet. I had once again compromised myself right back into my previous existence as a rock musician. I learned far more than I bargained for. As a result of those meetings. I canceled my ticket and travel arrangements to the United States. Sue and I were baptized into the Seventhday Adventist church. But God had other plans for my life. compromise. Within two months. even if it meant financial loss for a while. The new-found truths satisfied our deepest convictions. just three months later. I was busy recording with Duncan Mckay. We decided to attend the meetings. Sue learned about a prophecy seminar being held near our home. Rock music was still in my soul. At the prophecy seminar. The potential opportunities were too tempting to turn down. we were out of the church. I was performing on a stage across the country with my electric guitar slung around my neck. This new relationship had a tremendous impact on my life. when I received a call to go to Port Elizabeth.From Rock Music to the Rock of Ages
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local Seventh-day Adventist churches. At this time. The only way I knew to survive was to play music. I had not been willing to be broken on the Rock. Once again. and I made all the necessary arrangements to leave at the earliest opportunity. I received an offer from a lady friend with strong connections to the music industry in Los Angeles to continue my music career in the United States. the popular keyboard player of the famous band 10 CC. I was hoping to learn something new that I could use in the music recording that I was working on. Right at this time. The Final Turning Point It is hard to believe how many times I relapsed into the rock scene before gaining permanent freedom.

and spiritual effects. we were married and decided to dedicate our lives to a special ministry on behalf of those who seek deliverance from the hypnotic power of rock music. Much of my professional life was spent surrounded by admirers and rock musicians. living witness to what God can do for those who are willing to allow Him to change their lives and tastes. I would break down in shameful anguish and allow the tears of repentance to flow like rivers of crystal clear water to wash away the stains of my sins. and many more venues. I have traveled across Africa. Whole churches have reconsidered their stand on the use of religious rock after learning all the facts about its mental. I had time during the day to wander along the beach and reflect on all that had transpired in my life for the past few years. physical. During those three months. I believe that this is where God wanted me to be. But at last I found myself on an isolated beach where God brought me face to face with my sinful past. Many days were spent on that lonely beach. The door of acceptance stood wide open. examining the innermost recesses of my confused mind. Finally. Europe. the hidden truths of my wounded soul were very hard to face. Since my performances were at night. in June 1994. 1995. universities. Upon my return home. and North America conducting seminars on “Music and Worship” at churches. The goal of our ministry is to help Christians of all faiths to gain victory over their addiction to rock music and to develop appreciation for good Christian music. Sue and I made the decision that by God’s grace there would be no turning back into the world of rock. During the past few years. On January 15. hospitals. Sometimes I could almost feel the presence of the chiding and consoling Spirit of God bringing spiritual healing to my life. I see myself as a grateful. schools. I rented a house far out in the country near a beautiful. Helping Others to Find Deliverance from Rock Today. At times. I severed all my business relationships with the rock-music scene.From Rock Music to the Rock of Ages
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Cape Town. I boldly walked through it and closed behind me the door to my sinful and dark past. I was hired as a solo rock artist performing six nights a week at one of the top night spots in the city. The contract called for me to perform there for three months.
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. Port Elizabeth became the final turning point of my spiritual pilgrimage. isolated beach. I sensed the Holy Spirit speaking to me as never before.

gracious. I have heard every possible justification for the use of this music in worshiping a holy God. to make good musical choices. and our ability to effectively discern between good and bad music (and a host of other things) has been seriously compromised. We have all been desensitized through the popular media. in whatever version. Making Good Musical Choices Experience has taught me that there is a danger in teaching people how to make good musical choices by providing them with a clear-cut classification of what I would consider appropriate listening music. one is wise to ask five probative questions: 1. lovely.
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. Persons who have lost their taste for water because over the years they have conditioned themselves to enjoy whisky on the rocks are not in a position to argue that whisky is healthier than water. My deepest concern is for those who believe that rock music can be rightly used to worship God. do you find that it conforms to the criteria spelled out by Paul in Philippians 4:8 about thinking and listening to whatsoever is pure. Does the music really have something worthwhile to say? Are real moral truths communicated lyrically and instrumentally in the message of the music? Or is the music bland. psychological. must be subject to certain musical. stimulates people physically rather than elevating them spiritually. but none of them is biblical. This does not mean that good musical choices are simply a matter of personal taste. I’ve seen the fruits of “Christian” rock in live concerts. Thus. physiological. and worthy of praise? Does the music elevate you spiritually or stimulate you physically? Answering these questions requires honesty and practiced listening. They are essentially no different than those of secular rock. or coarse? 2. as long as the lyrics are religious or speak about Jesus. I have witnessed the fallacy of this assumption time and again in my life and music ministry. both secular and religious. Taste. whether stemming from a cultural or developed personal bias. In other words. just because I have developed a taste for heavy metal or listening non-stop to Mozart’s requiem does not mean that these are good musical choices for me. Rock music.From Rock Music to the Rock of Ages
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It has been a most gratifying experience for me to see people who once were fans of my rock music leaving behind forever the discordant atmospheres of rock and committing their lives to the Lord. repetitious. What is the intention behind the music? Is it sending out a positive or negative message? When you listen to the music. and spiritual/biblical criteria.

musical and otherwise. Let me share five suggestions that can help you make radical decisions regarding music. depressive impact. We must allow the Holy Spirit to enlighten us on whether the music we are listening to has a spiritually uplifting effect. a person may ask: “What then is there left to listen to if all the rock music I like has to go out the window?” Don’t let this attitude get in the way. Some other types of music with no beat whatsoever can dump us into the depths of depression. This is especially true today when we have been exposed to so much information. melodious notes. if the music calls for flowing. How to Make Radical Decisions Regarding Music When faced with the challenge of making radical decisions regarding our music. It is imperative to let the Holy Spirit guide us in rightly interpreting whether the atmosphere of a song is positive or negative. that has desensitized us. and then to consider our future course in a more positive light. This does not mean that we put aside those guidelines that identify the objectionable aspects of rock music. We cannot rely solely on our judgment or taste when it comes to making good musical choices. Some of these styles of music can be found in the classics. Are we seeking the guidance of the Holy Spirit in our choice of both secular and religious music? We must remember that spiritual things can only be discerned spiritually. The devil would love to have us believe that rock is the only music worth listening to. is the musician as a communicator good at what he does? Does he or she generate an atmosphere of reverence or frivolity? 4. Are the musical instruments used suitable for communicating the intention of the music? For example. beat-oriented music that can have a negative effect on us. This means that we need the Holy Spirit to guide us in our choice of music. The practical way of approaching the issue is first to look at the present situation from a different perspective. are the instruments being used those that can produce only short. We need to be aware that it is not only heavy.
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. percussive tones? 5. This process may very well lead us to discard a whole genre of music. Is the intention of the music being communicated effectively? In other words.From Rock Music to the Rock of Ages
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3. though they are usually recommended as alternative to modern pop and rock. extended. What it means is that we will exercise our good judgment in tune with the guidance of the Holy Spirit. or is making a rebellious.

In fact. 3. 2. Ask the Lord to help you recognize where your taste is defective. You won’t have to sacrifice your personal taste or special preferences. fashion. 4. In this process. Decide to become an individual by making up your own mind regarding good music on the basis of real information and not from peer pressure or personal taste. Indeed. In that framework you will have room to exercise your own taste in music. your taste may have been perverted. though you may get labeled as square or fanatic. a process of discovery. It is simply a matter of getting rid of bad music while retaining good music. No one likes to be considered a sheep or zombie that follows the crowd without any individuality. Listen carefully to lyrics to determine whether or not they are theologically sound.From Rock Music to the Rock of Ages
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1. It may take some searching and prayerful listening. to search out the musical gems in the pit of musical rot. it will show that you had the courage to stand for what you believe to be right and not follow the crowd. do not hesitate to take the necessary step forward. I was not an individual in the real sense of the word. Take time to define and refine your taste. you will discover that what you considered the only option in music was but a small fraction of the good music available. yet this is the case with most people. but in the end it will be worth it all. Consider the five probative questions given above for making good musical choices and put them into practice when you listen to music. and attitude were concerned. Nearly everything I did. You won’t need to go back into the nineteenth century or the dark ages to please God and to live a life that respects the body temple. language. Search out and retain that which conforms to these basic rules. was the direct result of pressure coming from popular trends. you will then truly have become unique. Ellen White correctly points out that
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. as far as music. They will simply have to become sanctified and refined. I started to like rock because it was the “in” music to listen to. Once you feel sure that this has been revealed. Bear in mind that after years of exposure to negative types of music. This is a very important exercise for it would be contradictory to have a lovely melody with lyrics that are totally unbiblical and insinuate an erroneous message. I wore what I did because fashion dictated that it was a “cool” way to look. part of the reason why “Christian” Rock exists is that Christians are too scared to be different from the world. Suddenly. Consider your new musical choices to be an adventure. It was true in my case.

It would be downright shameful if we allowed singing evangelists to get away with unsound doctrines in their lyrics. pulsating beat which can alter the human mind and stimulate the physical. in whatever version. Choose songs with lyrics that concentrate on pure and ennobling aspects of life. rock music embodies a spirit of rebellion against God and the moral principles He has revealed. Consider Paul’s admonition when making musical choices: “Finally. if there is anything worthy of praise. a song can preach a sermon. the underlying principle of choosing that which is pure and ennobling remains the same. May God grant us wisdom and courage to reject the music of Babylon and to worship with music that honors Him and ennobles our character. Evangelism provides an ideal opportunity to combine the choosing of music with serious Bible study. have fully convinced me that. whatever is honorable. The many years I spent as a performer. whatever is true. first of secular rock and then of “Christian” rock.From Rock Music to the Rock of Ages
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a “song is one of the most effective means of impressing spiritual truth upon the heart. The defining characteristic of the various forms of rock music is and remains the driving. The good news is that the God who delivered me from the bondage of rock music is able to liberate anyone who turns to Him for help. What a great combination! 5. think about these things” (Phil 4:8).
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. whatever is just. whatever is gracious.”9 This means that the message of a song—words and atmosphere— must be tested by the teaching of Scripture.
CONCLUSION My spiritual pilgrimage from rock music to the Rock of Ages gives me reason to believe that many sincere people are seeking for divine deliverance from the addiction of rock music. sensual aspect of human nature. They refused to bow down before the golden image at the sound of Babylonian music. whatever things are lovely. all in the name of freedom of expression and artistic license. Although a distinction remains between the music we use for worship and that for personal relaxation. whatever is pure. Our challenge today is to follow the example of the three Hebrew worthies on the plain of Dura. brethren.” and can be effectively used to “proclaim the gospel message for this time. if there is any excellence. After all.